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Review 2003/2004

2 Preface by the Chairman of the Trustees 3 Foreword by the Director 4 The Collections 8 Photographs Collection 10 Heinz Archive and Library 12 Conservation 14 The Galleries 16 Exhibitions 18 Education 20 Partnerships and National Programmes 24 Information Technology 26 Visitors 28 Trading 30 Fundraising and Development 36 Financial Report 40 Research 42 List of Acquisitions 48 Staff

The Regency in the Weldon Galleries © Andrew Putler Front cover Mary Moser by George Romney, c.1770–71 Back cover David David Beckham by Sam Taylor-Wood, 2004 © the artist NPG_AR_04_text.film 10/12/05 9:52 AM Page 2

This Review records another highly successful During the year we welcomed two new Trustees, 2 year for the Gallery under the energetic leadership Amelia Chilcott Fawcett, an investment banker, and comprehensive management approach of recently appointed to chair our Development Sandy Nairne in his first full year as our Director. Board, and Professor Robert Boucher, an engineer and Vice-Chancellor of Sheffield University. We have continued to develop the collection We lost an ex-officio Trustee with the tragically with some outstanding acquisitions and untimely death of Lord Williams of Mostyn. exciting commissions. Three of the galleries, He has been succeeded by Baroness Amos, the refurbished Weldon Regency Galleries, the Lord President of the Council. Tudor and the Early Twentieth Century Galleries, were imaginatively rehung, while the frequent We relish and revel in our responsibility to rotation of portraits in the Contemporary build and exhibit a collection of portraits of Galleries continues to attract wide approval. the men and women who have made or are making their mark on the history and culture Our programme of exhibitions embraced a of our nation. A triumphant contribution was broad spectrum of subjects and artists, ranging the publication in January, after six years from garden designers and those in domestic in preparation, of the Complete Illustrated service to glamorous celebrities and ‘ordinary Catalogue of the Primary Collection, which people’ – a rich panoply of portraiture – while was carried out in tandem with researching beyond London we continued to improve our the 10,000 illustrations in the forthcoming Preface by the partnerships, complementing our portraits Oxford Dictionary of National Biography. Chairman of at Bodelwyddan with innovative interactive the Trustees displays. In both the main Gallery and its regional It is immensely encouraging that the expertise partners, our Education department has gone and enthusiasm of our Director, curators and Board of Trustees from strength to strength, its access programme all our staff are impressively reflected in the 1 April 2003 to 31 March 2004 finding new audiences and achieving several increase in visitors to the Gallery and to our Sir David Scholey, CBE awards for excellence. exhibition partners around the country, to all Chairman of whom the Trustees extend their gratitude. Professor David Cannadine, FBA, FRSL Throughout the year we have continued Vice-Chairman to benefit from a wide range of supporters, David Scholey The Rt. Hon. Dr John Reid, MP including the National Art Collections Fund, Lord President of the Council, ex officio the Heritage Lottery Fund, our patrons and our (to June 2003) members, personal and corporate. It is vital for The Rt. Hon. Lord Williams of Mostyn, Lord President of the Council, ex officio us to generate funding from private sources to (to September 2003) augment the monies we receive from a prudent The Rt. Hon. Baroness Amos, but pressured public purse in the form of Grant- Lord President of the Council, ex officio in-Aid, which is among the lowest per visitor (from October 2003) of all the national museums and galleries. Professor Phillip King, CBE President of the RA, ex officio Professor Robert Boucher, CBE, FREng (from June 2003) Amelia Chilcott Fawcett, CBE (from June 2003) Chair of the Development Board Flora Fraser Sir Max Hastings Professor Ludmilla Jordanova Sir Christopher Ondaatje, CBE, OC Tom Phillips, CBE, RA Professor The Earl Russell, FBA Sara Selwood Alexandra Shulman Sir John Weston, KCMG Chair of the Audit and Compliance Committee Baroness Willoughby de Eresby, DL NPG_AR_04_text.film 10/12/05 9:52 AM Page 3

Following ten years of extensive building much public and critical acclaim for the BP Portrait activity, some of the past year was taken up and Travel Awards; Tessa Traeger’s photographs with a review of the Gallery’s policies and the in A Gardener’s Labyrinth; Circling the Square; creation of a plan for the next five years. The the newly launched Schweppes Photographic new plan focuses on developing the portrait Portrait Prize; and for the fascinating servants’ collection, sharing it more widely and developing portraits in all media selected for Below Stairs, activities and participation around it. In a period organised with the Scottish National Portrait of considerable constraints on public funding Gallery. At the end of the year, a remarkable such a plan can only be achieved through and highly popular contrast was presented by a combination of increased investment from the retrospective view of Cecil Beaton portrait government along with the financial input of photographs paired with the anonymous subjects ticketed exhibitions, sponsorship, and income in the 1,263 photographic postcards in We from trading, together with greater support Are The People, drawn from the collection of from members, patrons and benefactors. Tom Phillips.

That central work of developing the collection Our mission to share the collection around the continued with the acquisition of a number UK was boosted by the relaunch of the displays of outstanding portraits. They ranged from at Bodelwyddan. Support from the government’s William Parry’s conversation piece of the Tahitian Strategic Commissioning scheme enabled a step Omai, pictured with the scientists Joseph Banks change in education provision at our National Foreword by and Dr Daniel Solander, and George Romney’s Trust partnership houses, Montacute and the Director portrait of the founding Royal Academician Beningbrough, and further collaborations with Mary Moser to the photograph albums of Lady Dove Cottage, Grasmere, the Graves Art Gallery, Ottoline Morrell and Carlo Pellegrini’s watercolour Sheffield, and with Sunderland Museum and caricature of the statesman Benjamin Disraeli. Winter Garden as part of an agreement with Some of these and other acquisitions were made the new North-Eastern Museums hub. Equally possible through generous support from the important has been the extension to our education Heritage Lottery Fund, the National Art Collections and outreach programmes, together with new Fund and many individual supporters and access work, all of which contributed to our Gold benefactors. The need to find greater resources Award in the Tourism for All category as part of for the acquisition of important portraits will the 2004 Excellence in England Tourism Awards. be a key issue during the years ahead. The reopening of the Regency display in the Several significant commissions are featured redesigned Weldon Galleries, the rehang of the in the Review, including Sam Taylor-Wood’s Tudor Gallery, together with the new arrangement innovative video portrait of the footballer for the early twentieth-century portraits and David Beckham, made possible by JPMorgan many smaller displays, including those supported through the Fund for New Commissions. by Deloitte as the Gallery’s Contemporary The new edition of the Complete Illustrated Photographic Displays Partner, all brought a Catalogue, the digital Woodward Portrait positive public response and the second highest Explorer, and the ever-increasing range of figure for St Martin’s Place of 1.42m visitors. information and images on the website We must hope that this enthusiasm for what demonstrate the Gallery’s determination to is special about the National Portrait Gallery make research about and knowledge of the can be matched in the years ahead with public collection as widely available as possible. and private funds for the strengthening, display The appearance of the Gallery’s print and and sharing of the collection, and the further publicity was also renewed through the visual development of interpretation and learning. identity project: bringing the image of the institution in line with its work. Sandy Nairne

The exhibition programme began with the successful Julia Margaret Cameron exhibition going on from the Gallery to the National Museum of Photography, Film and Television, Bradford, and then to the J. Paul Getty Museum, Los Angeles. There were high attendances and NPG_AR_04_text.film 10/12/05 9:52 AM Page 4

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John Pym by or after Edward Bower, c.1640

The Collections Great progress has been made in digitising the Foundation, Flora Fraser and Peter Soros, collections, with support from the Department Sir Christopher Ondaatje and Linda L. Brownrigg. for Culture, Media and Sport (DCMS) and from the Paul Mellon Centre for Studies in British We are also most grateful to the Art Fund, and Art, as described below in the sections on the especially to the Heritage Lottery Fund, for their Photographs Collection and the Heinz Archive welcome support for the acquisition at auction and Library. More than 50,000 portraits from of George Romney’s portrait of the flower painter the Primary and the Reference Collections are Mary Moser. She and Angelica Kauffmann now available online and it is hoped to develop were the only two female founding members this resource-intensive work further as and when of the Royal Academy in 1768. Not previously funding can be found. The year was also marked represented in the collection, Moser now hangs by the publication of a new hard-copy edition alongside Kauffmann and other early Royal of the Complete Illustrated Catalogue of the Academicians in Room 12, which tells the story Primary Collection, discussed in more detail of the arts in eighteenth-century Britain. on page 25. Other historical acquisitions include two The outstanding acquisition of the year was seventeenth-century portraits: the statesman William Parry’s great historical portrait of John Pym, given by Paul Gore, and a self-portrait Omai, Sir Joseph Banks and Dr Daniel Solander, by the artist of low-life Egbert van Heemskerck; acquired jointly with the Captain Cook Memorial and two nineteenth-century portraits: Museum, Whitby, and the National Museums Eugen von Blass’s portrait head of his fellow and Galleries of Wales. A painting of outstanding artist Philip Morris, bequeathed by the sitter’s significance for Britain’s heritage and cultural grandson, P.A.R. Withers, and the earliest life, it came to our attention at the beginning published Vanity Fair cartoon, Carlo Pellegrini’s of 2002 when the Reviewing Committee for the watercolour of Benjamin Disraeli. Export of Works of Art placed a temporary bar on its export. This conversation piece depicts Among many additions to the twentieth-century Sir Joseph Banks and Dr Solander, two leading collection were David Bomberg’s Self-Portrait eighteenth-century scientists, with Omai, with Pipe, purchased with the support of Britain’s first Tahitian visitor, who won the the Art Fund, and an extraordinary image nation’s hearts during his two-year stay. of the controversial figure of Aleister Crowley. The funding for the acquisition owed much The Gallery benefited from the Acceptance-in- to the generosity of a private donor and the Lieu procedure in acquiring portraits of the Normanby Trust at Whitby, and to the National novelist Anthony Powell by Henry Lamb, and Art Collections Fund (Art Fund). The many the poet Louis MacNeice and the anti-apartheid Anthony Powell generous supporters of the appeal, listed on campaigner Bishop Trevor Huddleston, both by by Henry Lamb, 1934 page 35, were led by the Garfield Weston © estate of Anthony Dymoke Powell NPG_AR_04_text.film 10/12/05 9:52 AM Page 5

Omai, Sir Joseph Banks and Dr Daniel Solander by William Parry, c.1775–76 Benjamin Disraeli, Vanity Fair by Carlo Pellegrini, 1869 Louis MacNeice by Nancy Sharp, 1938 © estate of the artist David Bomberg, Self-Portrait with Pipe, c.1932 NPG_AR_04_text.film 10/12/05 9:52 AM Page 6

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Diana, Princess of Wales by Mario Testino, 1997 © the artist

The Collections Nancy Sharp. Generous gifts and bequests Photographs acquired for the collection ranged included a group of cartoons by Victor Weisz from an historic self-portrait of the 1850s by the (‘Vicky’), from the estate of his sister leading topographical photographer Benjamin Elizabeth Weisz, the expressionist plaster Brecknell Turner, a cabinet photograph of the high-relief self-portrait by Henryk Gotlib, and pioneer of women’s education, Dorothea Beale, Thomas Dugdale’s painting of Wendy Hiller given by Sarah Chorley, and the archive of in her role as Sal Hardcastle in Greenwood’s Lady Ottoline Morrell, described in more detail Love on the Dole, presented by her children. on page 8. Contemporary acquisitions included portraits of the graphic designer Peter Saville Three works on paper have been acquired for by Wolfgang Tillmans, one of four purchases the contemporary collection: Maggi Hambling’s made possible by support from the Deloitte gift of her charcoal drawing of the art critic and Acquisition Fund, and Hiroshi Sugimoto’s writer John Berger, David Hockney’s pen-and-ink Queen Elizabeth II. Two groups of photographs drawing of Lucian Freud, captured during the were acquired from exhibitions held at the period he himself was sitting for Freud, and a Gallery: fifty photographs by Tessa Traeger, self-portrait etching by Stephen Conroy, who commissioned by the Gallery and shown in is already represented in the collection with his A Gardener’s Labyrinth, and fifteen photographs commissioned portrait of Sir Jonathan Miller. by Mario Testino of some of the subjects who featured in the exhibition Mario Testino: Portraits. Four commissions were completed and displayed. The portrait of playwright and novelist Michael Frayn by former BP Travel Award winner Jennifer McRae was unveiled on the day Frayn’s play Democracy opened at the National Theatre. The welfare economist and Nobel prizewinner Amartya Sen was painted by Antony Williams and the Lindsay String Quartet by György Gordon. Continuing the tradition for departing directors to sit for their portraits, Tom Phillips painted Charles Saumarez Smith. These sittings were the subject of a film by Bruno Wollheim screened on Channel 4.

Beth Chatto by Tessa Traeger, 2000 © the artist NPG_AR_04_text.film 10/12/05 9:53 AM Page 7

The Lindsay String Quartet (Peter Cropper; Ronald Birks; Robin Ireland; Bernard Gregor-Smith) by György Gordon, 2003 Queen Elizabeth II by Hiroshi Sugimoto, 1999 © the artist Benjamin Brecknell Turner and Agnes Turner by Benjamin Brecknell Turner, 1850s Lucian Freud by David Hockney, 2002 © David Hockney Michael Frayn by Jennifer McRae, 2003 NPG_AR_04_text.film 10/12/05 9:53 AM Page 8

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A.A. Gill by Terry O’Neill, 2003

Photographs New sources of sponsorship and income from The DCMS cataloguing project entered its second grant-giving bodies have had a major impact and final year, enabling a further 4,000 images Collection on the department’s activities in the last year, taken by the Bassano studio to be searched for in terms of both cataloguing and acquisitions, online. Catalogued work now stretches from 1920 and this has enabled new material to be closely to 1927, and we aim to find further funds in future integrated with displays within and outside years to extend it to 1940 and even beyond. the Gallery. Acquisitions A three-year partnership with Deloitte as Support from the Friends of the National Contemporary Photographic Displays Partner, Libraries and the Dame Helen Gardner starting in August 2003, has helped raise the Bequest helped us acquire the comprehensive level of financial support for new acquisitions, photographic archive of the influential and allowing us to purchase four design-related generous patron and hostess Lady Ottoline subjects for the Designer Faces display. Morrell, comprising twelve vellum-bound albums Their support has enabled us to make the containing snapshot prints of leading literary first of eight video interviews with contemporary figures taken between 1909 and 1937, as well photographers represented in the collection, as loose prints, original negatives and relevant to be created over a three-year period for the copyrights, making up an archive of over 10,000 Woodward Portrait Explorer in the IT Gallery. items. The letters and diaries in the archive The first film features Terry O’Neill and shows were acquired by the British Library. him at work on a Deloitte-sponsored commission, a portrait of A.A. Gill. It was made to coincide with his highly popular display in the Balcony Gallery, Terry O’Neill: Celebrity, and marked a number of significant new acquisitions generously donated by the photographer.

Cataloguing work Deloitte’s support has also enabled the Gallery to start cataloguing all the post-1975 photographs in the collection, not previously available online. The total number of photographic items so far available online has risen to 25,820; the long-term goal is to make fully available most of the 240,000 Eddie Grant items currently in the collection. by Neil Kenlock, 1977 © the artist NPG_AR_04_text.film 10/12/05 9:53 AM Page 9

Works from the 1970s and before have come from Neil Kenlock and Geoff Howard, while two other large archives were received from the estate of John Gay, mainly literary subjects from the 1940s and 1950s taken for the Strand Magazine, and from that of Bob Collins, show-business subjects of the late 1950s and early 1960s together with negatives from the 1970s of leading British artists at work in their studios. These two collections complement prints of the same subjects acquired from the photographers in their lifetimes.

A vigorous policy of responding to contemporary photographers who offer items from their portfolios has again resulted in a lively cross-section of works entering the collection from the following photographers: Colin Bell, Jason Bell, Valerie Bennett, Alan Bergman, Laurence Cendrowitz, Suki Dhanda, Lucinda Douglas-Menzies, Richard Faulks, Laurie Fletcher, James Galloway, Sam Green, Mark Guthrie, Trevor Ray Hart, Sal Idriss, Marion Kalter, Philippe Levy-Stab, Mary McCartney Donald, Gered Mankowitz, Tom Miller, Rizwan Mizra, Dan Patterson, Veronique Rolland, Johnnie Six British Film Directors Shand Kydd, Steve Speller, Daniel Stier and by Mary McCartney Donald, 2002 Juliet Van Otteren. © the artist Left to right: Stephen Frears, Sir Richard Eyre, Ken Loach, Mike Leigh, Michael Winterbottom, Stephen Daldry NPG_AR_04_text.film 10/12/05 9:53 AM Page 10

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John Ogdon by Milein Cosman, 1960s © the artist

Heinz Archive The Heinz Archive and Library celebrated its Digitisation provided opportunities for several tenth anniversary in November 2003. Since the collections to be presented in the galleries and and Library rehousing of the Archive and Library in Orange on the website. The first phase of the project Street in 1993, made possible by a significant part-funded by the Paul Mellon Centre donation by Mrs Drue Heinz, this essential culminated in the display Alexander Browne and resource for the study and understanding of Richard Thomson: Print Publishers in Restoration British portraiture and history has been the basis London, illustrating the range and development for numerous research projects by both Gallery of the mezzotint process as it flourished in staff and outside researchers. The Archive was, London during the 1680s and including some for example, the foundation of the new catalogue rare examples. The display coincided with the by John Ingamells of the Gallery’s Mid-Georgian launch of illustrated catalogues for Browne and collection, now in the press, and it also formed Thomson on the website. Other new web resources the basis for research for illustrations for the include an introduction to the reference collection new Oxford Dictionary of National Biography. and an illustrated guide to individual groups of prints and drawings. Work in the Archive and Library continued to focus on improving services to the public and The records-management project begun last increasing access to the reference collection year made considerable progress: the majority of prints and drawings and Gallery records. of Gallery departments were surveyed and In all 2,658 items were catalogued on the arrangements were put in place to bring all collections-management system MultiMimsy, records within an effective management regime, which means that over 18% of the collection in compliance with professional standards and is now accessible via the Woodward Portrait current legislation. With help from the IT Explorer and website. Collections digitised this department a framework was agreed for the year included a large group of engraved portraits gradual and incremental introduction of electronic from an extra-illustrated set of the diaries and records management and recommendations letters of Fanny Burney, Madame D’Arblay were made for improved information-sharing. (funded by the DCMS), three volumes of Several series of historic records were catalogued seventeenth-century mezzotints by John Smith to increase access to the collection, and (part of a research project generously supported descriptions will be added to the online by the Paul Mellon Centre for Studies in British database of the National Archives. Art), a selection of drawings from the sketchbooks of Cecil Beaton, a substantial number of early engravings of Stuart monarchs, etchings by Wenceslaus Hollar, caricatures by Robert Sherriffs, lithographs by Alick Ritchie and a group of Jack Hobbs original portrait prints of Alphonse Legros. by Alick Ritchie NPG_AR_04_text.film 10/12/05 9:53 AM Page 11

A total of 1,440 researchers visited the public study room and staff responded to 2,263 telephone, letter and e-mail enquiries concerning British portraiture. Work on the portrait files continues to depend on the dedication of a team of volunteers from the National Association of Decorative and Fine Arts Societies (NADFAS), supported by a series of work experience placements. The department provided eight such placements for students and collaborated with a project in the Conservation Department at Camberwell College of Art. Presentations on visual resources for British portraiture were given to MA students from the Courtauld Institute, Queen Mary College and the University of Westminster, and PhD students from the Institute of Historical Research. Other visiting groups included the Westminster Kingsway Group and librarians from Westminster Reference Library and the Society of Friends.

The Archive and Library purchased an account book of Sir William Beechey covering the years 1789–91, with help from the Dr Clementine Wheeler Bequest. Papers relating to recent portrait commissions, including diaries, preparatory work and photographs, were received from the artists Stephen Farthing, Andrew Tift and Tomas Watson. Other gifts included ten cigarette cards with caricatures of notable men by Alick Ritchie donated by Terence Pepper, a printed cartoon of Sir Winston Churchill by Victor Weisz (‘Vicky’) given by the executors of Elizabeth Weisz, an engraving of Sir Henry Harben by John Richard Jackson after Norman Macbeth from Andrew Underwood, a drawing of George Grote by Sir George Scharf bequeathed by Richard O’Donoghue, and an etching of Imogen Holst and a drawing of John Ogdon generously donated by the artist Milein Cosman.

A page from the account book of Sir William Beechey, May to July 1809 George Grote by Sir George Sharf, 1861 NPG_AR_04_text.film 10/12/05 9:53 AM Page 12

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Infra-red reflectography showing under-drawing on Robert Dudley, Earl of Leicester by an unknown artist, c.1575

Conservation The rehanging of the Tudor Galleries, in In addition to supporting the changing displays September 2003, provided the opportunity to and exhibitions, the conservation teams have examine works coming down from the display, accommodated the ongoing loans programme, and those going up to the Tudor Galleries. as well as their longer-term projects. The loans A number of key works on panel were studied programme was considerably extended as a using infra-red reflectography, which helps us consequence of the funds secured from the to understand the role of under-drawing in DCMS and DfES for the Strategic Commissioning early panels. scheme. The resulting exhibitions at Sheffield and at Sunderland meant that over a hundred works The opportunity to examine the Holbein Cartoon passed through the studios for loan-out reports was not to be missed and a thorough survey between October and December 2003. of this important work was undertaken by Alan Donnithorne, Holbein expert and paper The project undertaken with our Regional Partner conservator to the Royal Collection. The drawing at Montacute House was a challenging one, was mapped, a small amount of conservation was particularly in terms of paintings conservation. undertaken, mainly the securing of flakes, and Frame conservation staff also invested a great an informal seminar was held involving several deal of energy in this project which resulted leading scholars. The work was photographed in the development of a particular method of in detail and infra-red reflectography undertaken backboarding, housing and hanging portraits before it was rehung in the Tudor Gallery. with a view to reducing the fluctuations of temperature and humidity within the frame, The redisplay of the early twentieth-century and thereby minimising their impact upon the collection in Rooms 30 and 31 followed soon framed works on panel. after. Nearly forty paintings were examined in detail for the first time by our paintings This was the final year of Radcliffe Trust funding conservators; fifteen underwent several hours in support of the frame conservation internship of conservation, and twenty-six sculptures programme, which has been running for three were prepared for the display. years. The project saw four interns working on-site at the Gallery to develop their frame conservation skills and techniques, following completion of their MAs in Conservation. NPG_AR_04_text.film 10/12/05 9:53 AM Page 13

Henry VIII and Henry VII by Hans Holbein the Younger, c.1536 NPG_AR_04_text.film 10/12/05 9:53 AM Page 14

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The Regency in the Weldon Galleries © Andrew Putler

The Galleries The Regency in the Weldon Galleries opened information and in-focus features, as well as in May 2003, the culmination of a ten-year unprecedented gallery access to over 5,000 programme to renew the display of the collection. Regency items in the collection (detailed on Redesigned by Piers Gough of CZWG, who worked page 24). The project was generously supported with Lucy Peltz, Eighteenth-Century Curator, this by Anthony and Jane Weldon and by the Heritage Grade I listed interior has been fully renovated, Lottery Fund, with further invaluable support with the introduction of new windows and the coming from the benefactors listed in last year’s installation of new roof-lights and state-of-the- Annual Review. art environmental controls. Gough’s interior scheme employs a palette of finishes which Two other sets of galleries were rehung during include blue-green silks, acid-etched glass and the year. On the top floor the Tudor Galleries, brushed stainless steel. Modern though these with improved lighting and enhanced information, materials may sound, the overall effect is designed reopened in September, hung to include newly to enhance the original Art Deco architecture conserved portraits depicting such sitters as Lord while drawing its inspiration from the Brighton Burghley, Sir Nicholas Bacon, and Lady Anne Pope Pavilion. The qualities of light and spaciousness and her children in an impressive full-length the scheme brings to the galleries provide a portrait which has been placed on loan to the refreshing backdrop for the portraits and their Gallery. On the first floor the closure of the Early interpretation. The refurbishment was greeted Twentieth Century Galleries for maintenance with considerable enthusiasm, one critic provided the opportunity to redisplay these spaces, describing it as breathing ‘new life into the which opened again in December. The screen National Portrait Gallery’s now ravishing in the middle of the First World War room has Regency collection’. been removed to open up vistas into the gallery beyond. The redisplay gives a chronological Innovative display methods have been narrative of the period with an emphasis on the introduced, revitalising the collection of role of women in an age of social, scientific and sculpture and improving the exhibition of technological change. The interpretation was miniatures and pastels. The rooms are hung strengthened by the inclusion of a number of thematically, providing a greater sense of the important loans, noted in the List of Acquisitions subjects’ historical context, spheres of influence on page 42. and social networks to bring the sitters to life. New interpretative texts, new Sound Guide recordings and special materials for the visually impaired have been developed. In a radical departure, IT facilities have been provided William Cecil, 1st Baron Burghley through a special Regency Woodward Portrait by or after Arnold van Brounckhorst, Explorer, installed to provide deeper layers of 1560s NPG_AR_04_text.film 10/12/05 9:53 AM Page 15

William Hazlitt by William Bewick, 1825

Temporary displays There were two Balcony Gallery displays devoted The programme of changing displays of works to the leading photographers Patrick Lichfield on paper is designed to show the strengths of and Terry O’Neill, described on pages 30 and 8. the Gallery’s holdings of drawings, prints and On the ground floor Designer Faces celebrated photographs. On the top floor, William Hazlitt’s the launch of the London Design Festival with Spirit of the Age: A Radical Critic’s View of his a display of photographs of familiar faces from Times opened to coincide with the launch of the world of contemporary design, mounted the new Weldon Galleries, and was followed with support from Deloitte, the Gallery’s by Alexander Browne and Richard Thomson: Contemporary Photographic Displays Partner. Print Publishers in Restoration London, described in more detail on page 10. Gallery trails were mounted to celebrate the centenary of the Art Fund and the acquisition On the first floor in the Victorian Galleries, of the portrait of Mary Moser, which formed the Jopling and London Life celebrated the Gallery’s centrepiece of a trail devoted to creative women. acquisition in 2002 of John Everett Millais’s portrait of the painter Louise Jopling with a Bookshop Gallery displays tour round late Victorian London based on DJs by Chris Lopez included twenty-one her memoirs. The many displays in the Early photographs of leading international disc Twentieth Century Galleries included a jockeys such as Danny Rampling, Fatboy Slim centenary celebration, Albert Mansbridge and and Princess Julia, taken by Chris Lopez. the Workers’ Educational Association, and The display opened in July 2003 and coincided displays focusing on the Sassoons and the with the publication of the photographer’s Edith Cavell monument by George Frampton. book of the same name. A special exhibit, High Treason, Court of Criminal Appeal 1916: The Trial of Roger Casement, Heroes & Villains followed in September. was mounted around a large group portrait by Underlining the collaborative relationship Sir John Lavery, on loan from the Government between the Gallery and the artist Gerald Scarfe, Art Collection, which had never before been the display of seventeen works on paper took on public display in London. Following the a humorous and topical look at heavyweight reopening of these galleries, Beaton’s Drawings political figures including Margaret Thatcher, revealed a lesser-known side of Cecil Beaton’s Oliver Cromwell and Elizabeth I, as well as work while Low’s Company featured drawings celebrities such as the Beckhams, Richard by the political cartoonist Sir David Low. Branson and Diana, Princess of Wales.

Louise Jopling by Sir John Everett Millais, 1897 NPG_AR_04_text.film 10/12/05 9:53 AM Page 16

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The Trusty Servant by William Cave, 1809 © The Warden and Fellows of Winchester College

Exhibitions In another energetic year for the Gallery’s from private and public collections that had exhibition programme, photography featured not been seen before. The aim was to explore strongly, and the new photographic portrait representations of service, official and unofficial, competition, the Schweppes Photographic as illustrated by both servant and master. Portrait Prize, was launched. Our presence was A considerate and creative exhibition design felt within and outside the UK, with shows touring enhanced the display of a diverse range of oils, to national and international venues, as well as manuscripts, works on paper and photographs. displays from the collection at regional galleries Outstanding was the painting The Trusty such as Sunderland Museum and Winter Servant, which represented the masters’ Gardens and the Graves Art Gallery, Sheffield. and mistresses’ ideal of the perfect servant. A comprehensive catalogue illustrated in colour Wolfson Gallery exhibitions accompanied the exhibition. In its twenty-third year and thirteenth year of BP sponsorship, the Portrait Award continues A contrast to this thematic exhibition followed to attract strong talent. This year fifty-one works in spring 2004 with Cecil Beaton: Portraits. were selected and Charlotte Harris, a final-year A retrospective of the photographer’s work, art student at Leeds Metropolitan University, spanning the period from the 1920s to the late secured first prize with her entry Untitled, 1970s, it included an IT display with installation a moving portrait of her grandmother. shots of the 1968 Beaton show organised by Daisy Richardson and Jessica Wolfson, winners the Gallery’s former director, Sir Roy Strong. of the BP Travel Award 2003, exhibited work Vintage photographs of Bright Young Things resulting from their travels on the Trans-Siberian such as Stephen Tennant, Adele Astaire and the Railway. A journey from Glasgow to Moscow Sitwell family were displayed alongside Hollywood and on to China, ending in Shanghai, their portraits of Gary Cooper and Marilyn Monroe. six-week trip provided much inspiration and There was an opportunity to see Beaton’s lesser- opportunity to paint intimate portraits of the known work as war photographer, for example people they encountered. The Russian connection the picture of the injured child Eileen Dunne in is maintained as the winner of the BP Travel hospital, which made the cover of Life magazine Award 2004, Ulyana Gumeniuk, is producing in 1940. Also on display were his scrapbooks, work based on her visit to the St Petersburg with intimate portraits of the Duke and Duchess Academy of Arts. of Windsor’s 1939 wedding, photographic sessions on Hollywood sets, and his own private A major event of 2003 was the winter exhibition, albums. The exhibition, designed in a series Below Stairs: 400 Years of Servants’ Portraits. of rooms, was set off by Beaton’s signature red Untitled by Charlotte Harris, 2003, Curated by Giles Waterfield and Anne French, it and a collage of self-portrait images surrounding the winning entry in the was the first ever study of portraits of servants the entrance doorway. Both a hardback and a BP Portrait Award in Britain, and brought together many items mini-catalogue have sold well, and the © the artist NPG_AR_04_text.film 10/12/05 9:53 AM Page 17

exhibition will be one of the Gallery’s most The winter exhibition for 2003 provided an successful, with more than 120,000 visitors. opportunity to showcase promising talent in portrait photography through the Schweppes Porter Gallery exhibitions Photographic Portrait Prize. Continuing the You Look Beautiful Like That: The Portrait tradition of the John Kobal Photographic Photographs of Seydou Keïta and Malik Sidibé Portrait Award, this competition sponsored brought a refreshing elegance to the Porter by Schweppes is an important platform Gallery for the 2003 spring programme. for photographers and aims to promote Curated by Michelle Lamunière, from the Fogg debate about contemporary photography. Art Museum at Harvard University, the show Sixty photographs were selected this year from featured work from the studio of two Malian a staggering response of over 3,000 entries. photographers who have received international Robin Antoniewicz gained first prize for 2nd recognition for their remarkable and engaging Birthday, a portrait of his granddaughter portraits of members of the local community. Mairead, with David Yeo winning the Deloitte It highlighted the modernity of studio portrait Award for photographers aged twenty-five or photography in Mali during the period under. The exhibition demonstrated the great 1950–1986 and showcased work that has variety of styles and subjects in current practice, subsequently been of great interest to reflected in a colourful and entertaining catalogue, photographers and audiences in Europe and promises to be an annual event with a and North America. strong public following.

A Gardener’s Labyrinth: Portraits of People, We Are The People: Postcards from the Collection Plants and Places was an appropriate of Tom Phillips presented an intriguing exhibition choice for the summer. Tessa Traeger and of over 1,000 postcards of ordinary people Patrick Kinmonth, working in collaboration made exceptional by the lens of the camera. as photographer and art director, were The exhibition was divided into themes such commissioned by the Gallery to photograph as Wedding, Sporting, School or Workplace, each over fifty influential British horticulturalists for section prefaced by an enlarged version of a key the collection: gardeners, garden history writers, image. Studio portraits, easily available to all plant finders, garden designers and artists, at the start of the twentieth century, introduced such as Ian Hamilton Finlay, Beth Chatto, new possibilities for fantasy and aspiration. Christopher Lloyd, Sir Roy Strong and the late The exhibition encouraged visitors to spot among Dr Julia Trevelyan Oman, Valerie Finnis and its ‘anonymous’ subjects a relative, a grandparent Tim Smit. Complementing these portraits or great-grandparent and bring in their names were photographs of plants and places closely and stories. connected to each sitter, creating a fuller picture of the rich garden tradition that exists An illustrated book accompanied the exhibition, throughout the British Isles. The result was with wonderful images of sitters posed against a winding path of associations, reflected classical pillars or voluptuous velvet drapes, in a beautiful and comprehensive book or in fancy dress as cowboys, at the wheel of accompanying the exhibition. a dummy motorcar or in a cardboard aeroplane.

The display for the exhibition You Look Beautiful Like That 2nd Birthday by Robin Antoniewicz, 2003 © the artist NPG_AR_04_text.film 10/12/05 9:53 AM Page 18

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Baljit Balrow, Self Portrait UK, 2003 © the artist

Education The Education department continues to offer Access and outreach programmes innovative programmes to a wide range of The access programme reaches new audiences audiences. It is exciting to see the creative including groups who, for reasons of geography ways in which groups respond to the Gallery’s or other factors, find it difficult to visit the collections: for example, schools worked with the Gallery. An outreach programme in schools Children’s Music Workshops to interpret images raised awareness of the Gallery’s services and from the exhibition You Look Beautiful Like That; collections for British Sign Language (BSL) users Lambeth schools presented the results of their and hearing-impaired children and their families. collaboration with us at the Royal Festival Hall; As a result tours, talks and family sessions led secondary school pupils and other young people by deaf artists and interpreters have now been took part in photography workshops to accompany specially designed to introduce groups to the the Schweppes and Cecil Beaton exhibitions; Gallery’s collections on-site, while BSL-interpreted and many visitors old and young participated talks have become a regular and successful in the Big Draw weekend in October. feature of the Gallery’s programme of activities. A series of visual literacy art sessions has been Schools run for five- to eighteen-year-olds with special A varied programme of activities and workshops educational needs (SEN), exploring portraiture, for school groups lies at the heart of the work pose and composition. Through these, pupils of the Education department. Over 15,000 pupils develop their communication and creative skills, and students have taken part in activities, with learning to formulate and express ideas. Young a further 20,000 visiting the Gallery. These groups people with learning difficulties and mental use the collections to study history and art, health problems have participated in the and take part in practical art and photography programme to develop their ideas, communication workshops. Increasingly the Gallery is fully and life skills. These sessions have now led to booked for school visits, which is spurring the a certificated course developed with tutors at development of video-conferencing sessions in Westminster Kingsway College as part of the educational groups. In addition new educational College’s Independent Living Programme. resources are available via the Gallery’s website. Twelve students are taking part in the course Responses from teachers and group leaders attest in its first year. to a high level of satisfaction with the Gallery and reveal the extent to which groups use their Outreach sessions from the Gallery were visits to support a range of curricular studies. extended to the schools at the Chelsea & Westminster and Royal Brompton Hospitals, which worked with Gallery staff and freelance artists, actors and photographers. These workshops covered curricular areas of art, A Gallery outreach session at history, literacy and citizenship and drew Great Ormond Street Hospital NPG_AR_04_text.film 10/12/05 9:53 AM Page 19

inspiration from paintings, sculptures and Studio Gallery photographs in the Gallery. One of the Gallery’s The Education department developed two Regency Partners, Towers Perrin, supported an successful exhibitions in the Studio Gallery. exhibition of the children’s work which will be Self-Portrait UK was the result of a collaborative shown at their offices before transferring to project between the Gallery, the Arts Council Chelsea Children’s Hospital School. and Channel 4, which encouraged people from across the country to produce their own self- The access programme work has been recognised portraits. Some 80 of the 5,000 works submitted with three awards in 2003: the London Tourist were displayed, and the exhibition travelled Board’s Access for All Award, the ADAPT Trust’s to Cardiff, Glasgow, Manchester and Belfast. top prize in its Excellence in Access Awards and Circling the Square was initiated in response to an award from the North-West London Business the opportunity created by the World’s Square Partnership for the development of further development of Trafalgar Square. The arrival training for SEN teachers. The Gallery received of photography in 1839 coincided with the the Gold Award in the Tourism for All category creation of the Square in 1840. The exhibition at the Excellence in England Tourism Awards. mapped the continuing relationship of the camera to this symbol of Britain, from the Beyond the Gallery highpoints of national celebration such as the The past year has seen an extension of activities football World Cup in 2002 to the diametric nationally through existing and new regional opposite of political dissent – the Poll Tax riots partners. Funding from the DCMS and the DfES of the 1990s, the suffragette riots in the early has led to new work with schools, families and twentieth century – interspersed with lighter community groups at Beningbrough and moments such as Elizabeth Taylor being Montacute, as well as in Sheffield, Sunderland mobbed by pigeons. The project was initiated and Grasmere. We are also grateful to the with a set of new portraits taken by young Dulverton Trust for the funding of our video- homeless people based at the Connection at conferencing programme. The Gallery now runs St Martin-in-the-Fields day centre, supported regular teaching sessions with schools from by the Carlton Television Trust. the north of Scotland to Cornwall. The exhibition attracted over 67,000 visitors, Talks and events setting a new record for the space; it will The talks and events programme continues result in a Gallery publication in 2005. to attract large audiences, and series linked to the Below Stairs and Cecil Beaton: Portraits exhibitions were particularly well received. The Gallery worked closely with the Poet Laureate, Andrew Motion, to develop ‘Interrupted Lives’, a series on writers who died before their canon of work was complete. This was featured in the Guardian and will be published in book form in 2004. The Gallery is grateful to Arts Council England for its support. There has been greater emphasis on activities for families and new audiences. A series of workshops on African music, a special evening event celebrating Indian performance and dance to coincide with the display of the portrait of Pandit Ram Gopal by Feliks Topolski, and a lecture series linking contemporary architecture and portraiture were among the highlights. There were several conferences, including a two-day event organised in conjunction with the Paul Mellon Centre for Studies in British Art and a conference on the philosophy of the face with the Royal College Visitors to Trafalgar Square photographed by young of Art. people as part of the Circling the Square project, 2003 NPG_AR_04_text.film 10/12/05 9:53 AM Page 20

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A Sense of Occasion, first-floor display, Bodelwyddan Castle © Barry Hamilton

Partnerships The Gallery has developed a number of ways appointing staff to develop on-site and outreach of sharing the works in its collection with education provision. We aim to develop this work and National audiences outside London and has been at in the future. Programmes the forefront of such developments within the museum community. In 2003 the Gallery Bodelwyddan Castle formalised its National Strategy, following The complete redesign of the first-floor displays, approval by the Trustees. funded by the DCMS and the Heritage Lottery Fund, opened in April 2003. The interactive The National Strategy considers the areas displays in the new permanent galleries have already developed, such as our Regional proved a popular addition among targeted Partnerships with the Bodelwyddan Castle Trust audiences of families and school groups and the at Bodelwyddan in North Wales, and with the computer interactive facility based on the studio National Trust at Montacute House in Somerset of the photographer Camille Silvy has been and Beningbrough Hall in North Yorkshire, as especially successful, as recorded elsewhere well as the touring exhibitions and the loans (page 24). The Gallery contributed two shows programme. It also looks to the development to the newly created temporary exhibition spaces: of future relationships with museums, galleries a special inaugural exhibition of recently and other institutions across the UK. acquired works entitled The National Portrait The appointment of a National Programmes Gallery Collects and the touring exhibition Manager was a key part of the strategy. Beatrix Potter to Harry Potter: Portraits of Children’s Writers. During the year the displays were subject People, Portraits and Places to an outside evaluation in which favourable The Gallery succeeded in attracting maximum and critical responses were recorded, while Strategic Commissioning funding from the market research conducted by Morris Hargreaves DCMS and DfES to develop its regional work, McIntyre is proving a helpful foundation for concentrating on educational activities in England, future projects on signage, visitor orientation under the title of People, Portraits and Places. and marketing. Five projects were funded, including extremely successful collaborations with Montacute and Beningbrough, and the formation of new relationships with Dove Cottage, Sheffield Museums & Galleries Trust and Sunderland Museum and Winter Gardens. For the nine- month period of this funding, Beningbrough and Montacute were able to focus on reaching Woodward Portrait Explorer, rural schools and catering for children and Bodelwyddan Castle groups with additional learning needs, © Barry Hamilton NPG_AR_04_text.film 10/12/05 9:54 AM Page 21

Beningbrough Hall Montacute House Under the People, Portraits and Places umbrella, Montacute received over 95,000 visitors over 500 local schoolchildren, plus 1,000 this year. The People, Portraits and Places scheme children and adults from the local community, enabled over 3,000 local schoolchildren and were involved in activities based around the groups to take part in activities looking at the Gallery’s collection of eighteenth-century history of portraits, techniques, costume, art and portraits. The project produced the first Tudor life. Outreach work was undertaken in opportunity to provide assisted transport for Yeovil and the surrounding rural area to make rural schools, thereby bringing children who contact with non-visiting schools, families and had not previously visited the Hall to take community groups. More than 700 children part in a range of workshops. participated in a workshop called ‘Tudor Portraits, Costume and Dance’. New activities This has been another excellent year for were introduced for schools visits such as making Beningbrough, which beat its own record with miniatures and looking at aspects of conservation. 95,750 visitors. In addition to the core objectives A schools database was set up, and an outreach of education and outreach described above, funds handbook produced. offered through the Strategic Commissioning scheme were put towards piloting some of the initiatives in the project to refurbish the thematic displays and provide other interpretive material on the first and second floors. This project commenced in July 2003, and Casson Mann Designers were appointed to produce an outline design concept. Although the Gallery has some seed money from the DCMS, the undertaking of the full project depends upon fundraising. Proposals include the installation of the Woodward Portrait Explorer and a multi-layered Audio Guide, the development of a series of Part of the Strategic Commissioning funding interactive displays about portrait practice in has been put towards developing new wall the eighteenth century and the introduction panels, large-print captions, interpretation of a visiting portraits display space. The new folders and a trail for families. Curatorial and displays and their interpretation will open at conservation time has also been devoted to the start of the 2006 season. stabilising the environmental conditions in the Long Gallery, and the results of this work will be evaluated over the coming year.

Exterior view of Beningbrough Hall © Horst Kolo A display at Montacute House © Fototek, Geoff and Tordis King, 1999 NPG_AR_04_text.film 10/12/05 9:54 AM Page 22

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Education workshop, Graves Art Gallery, Sheffield

Partnerships Dove Cottage, Cumbria Sunderland Museum and Winter Gardens Artists and poets-in-residence Simon Morley, The exhibition Claim to Fame (January–March and National Henry Shukman and Owen Shears worked at 2004) contained fifty-nine portraits, from Henry Programmes Dove Cottage with pupils from local secondary VIII to David Beckham and from Ellen Terry schools on a project drawing its inspiration to J.K. Rowling. Several of the sitters were local from the Gallery’s touring exhibition Mad, Bad personalities, such as Ellen Wilkinson who led and Dangerous: The Cult of Lord Byron. the Jarrow Marchers. The exhibition was extremely The workshops took the theme of celebrity, popular, with 49,465 visitors attending. looking at issues of the day around Lord Byron and contemporary figures. An anthology of Schools and community groups were involved creative writing and a video were produced from the start in outreach projects, which were as well as collages based on ideas of displayed at the centre of the exhibition. Among present-day fame. the interpretive materials produced by groups was a ‘children’s trail’, working with Steve Donald Sheffield Museums & Galleries Trust of Viz fame. Over 2,275 children and people Works were selected from the Gallery’s collection from community groups took part. The Minister for the exhibition Turning Heads at the Graves for the Department for Culture, Media and Sport, Art Gallery, Sheffield (November 2003–February Estelle Morris, visited the exhibition and was 2004). The selection aimed to show the changing enthusiastic about the collaboration. nature of, and ideas about, democracy, regulation, power and freedom throughout history. Portraits ranged from Nell Gwyn and Salman Rushdie to Ms Dynamite and included paintings, photographs and sculpture. More than 10,500 people came to the exhibition.

Sheffield’s education team worked closely with secondary school students, giving drama workshops and showing pupils how to use digital photography to create their own portraits. NPG_AR_04_text.film 10/12/05 9:54 AM Page 23

Touring exhibitions programme Loans programme The Gallery made an impact within the UK and The Gallery continued to lend significant abroad, and fortified its commitment to making numbers of works to institutions across the UK its exhibitions and collection available to a wider and abroad. In addition to exhibition tours and public, particularly outside London. A total of Strategic Commissioning scheme projects, 119 ten exhibitions travelled to nineteen venues. works were lent to forty-four institutions and included items and exhibitions as diverse in their Beatrix Potter to Harry Potter: Portraits of themes and approach as George Best at the Children’s Writers continued its popular tour Powysland Museum, Welshpool; the celebration around the country, travelling to its third venue, of the life of Dame Kathleen Ferrier in her home Hove Museum and Art Gallery; it moved on to town of Blackburn; Every Look Speaks at the the Royal Museum and Art Gallery, Canterbury, Holburne Museum of Art, Bath, which examined in June 2003, and closed after its final stop at contemporary depictions of the actor David Bodelwyddan Castle in November. Garrick; Art for Votes’ Sake at the Women’s Library, London, which looked at the importance The hugely successful Mario Testino: Portraits of artists and their work in the fight for women’s exhibition went on display at the Dean Gallery suffrage; and Doctor Johnson and the Doctors in Edinburgh from April to June 2003. at Johnson’s House, London, where our death mask of the writer was shown alongside medical Self-Portrait UK continued its nationwide apparatus and other material in a survey of the progress to the National Museums and Galleries eighteenth-century treatment of illness. of Wales, Cardiff, Glasgow Museum of Modern Art, Manchester City Art Gallery, and the Gallery loans were prominent among the huge Ormeau Baths, Belfast. range of items to be seen at the National Maritime Museum’s Elizabeth exhibition and The home of William Wordsworth, Dove in High Society, the Scottish National Portrait Cottage, Grasmere, was the final stop for Mad, Gallery’s monographic exhibition on the Bad and Dangerous: The Cult of Lord Byron in nineteenth-century society portraitist Sir Francis June 2003 and enjoyed much success (see Grant, while in a contrasting contemporary above); it was previously seen at the Scottish mode the SNPG also borrowed Maud Sulter’s National Portrait Gallery, Edinburgh. Continuing portrait of the cultural critic Bonnie Greer for the long-established relationship with Dove their exhibition Jeanne Duval, a melodrama Cottage, our William Hazlitt’s Spirit of the Age: by Maud Sulter. A number of loans were made A Radical Critic’s View of his Times display was to Wolverhampton Art Gallery’s Bloomsbury Group expanded into an exhibition there in March 2004. exhibition, as well as to the Thomas Bewick exhibition at Newcastle’s Hancock Museum. Julia Margaret Cameron: 19th Century Photographer of Genius travelled to the National Significant loans abroad included the Gallery’s Museum of Photography, Film and Television, magnificent portrait of the Earl of Arundel to Bradford, and transferred to the J. Paul Getty the major Rubens 2004 exhibition at the Palais Museum, Los Angeles, with great success. des Beaux-Arts, Lille, held as part of the European Capital of Culture celebrations. Exhibitions to The John Kobal Photographic Award 2002 which we lent in Italy included Antonio Canova, toured to the University of Hertfordshire in in Bassano del Grappa, and Anxious Creation at March 2003 and transferred to the Midland Art the Galleria d’Arte Moderna in Verona. We lent Centre, Birmingham, in July, finally visiting the to The Edwardians at the National Gallery of Harley Gallery, Nottinghamshire, in September. Australia, Canberra, transferring to the Gallery The BP Portrait Award 2003 was seen at of South Australia, and to Men of Mark at the Aberdeen Art Gallery from December 2003 Mark Twain House, Hartford, CT, USA. until February 2004.

A Gardener’s Labyrinth was successfully mounted at Scarborough Art Gallery in November 2003 Thomas Howard, and Below Stairs travelled to the Scottish National 2nd Earl of Arundel and Surrey by Peter Paul Rubens, 1629 Portrait Gallery, Edinburgh, with whom we (on loan to the Palais des Beaux-Arts, co-organised the exhibition, in February 2004. Lille, for the Rubens 2004 exhibition) NPG_AR_04_text.film 10/12/05 9:54 AM Page 24

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Children using the Woodward Portrait Explorer in the Weldon Galleries © Lynda Nylind

Information The Woodward Portrait Explorer on two pages during the exhibition, and a virtual The Woodward Portrait Explorer extended tour of the 1968 Cecil Beaton display in the recent Technology beyond the IT Gallery for the first time with the exhibition, highlighting the strength of the opening of two major public access initiatives. Gallery’s holdings of Beaton’s work. In April 2003 it was integrated into the refurbishment of displays at the Gallery’s Website Regional Partner, Bodelwyddan Castle, on two Public access to the collections through the touchscreens. In the first six months of operation online search mechanism on the website the innovative Silvy Photograph Activity saw and the Woodward Portrait Explorer has over 2,000 visitors dress up in Victorian costume, been significantly enhanced again this year. create their own virtual carte-de-visite and The 1.15 million visitors who have made 2.5 e-mail it to themselves and over 4,000 friends, million visits to the Gallery’s website can now family members or their school, so helping to search a database of over 52,000 portraits. promote the castle itself. Illustrations of 33,000 portraits can be accessed through the Portrait Explorer, nearly 45% more In May a Regency version of the Portrait Explorer material than last year. Furthermore the quality opened at the Gallery, with three touchscreens of the information is consistently higher, with in Room 20 providing access to over 5,000 sitters drives towards standardisation of terms and and artists. It includes features on a miniature filling in of missing information by the Collections of George IV, court circles, and three major group Database Manager. One of the most significant portraits of the period, a section on the caricatures developments this year has been Deloitte’s of James Gillray and a Regency timeline. We have sponsorship of video interviews with eight also installed a touchscreen next to the Trial of contemporary photographers, as outlined Queen Caroline in Room 17 so that visitors can on page 8. find out more about that painting in situ. Special web features were created for the Further regional initiatives included the catalogued prints of Alexander Browne and integration of the Woodward Portrait Explorer Richard Thomson as part of the project funded CD-ROM into exhibitions at the Graves Art by the Paul Mellon Centre for Studies in British Gallery, Sheffield, and the Sunderland Museum Art (see page 10). Comprehensive new sections and Winter Gardens, to highlight the extent of were created on the website publicising the the Gallery’s collection of portraits for the nation reference collections of photographs and prints as part of the Strategic Commissioning scheme, and drawings, including complete summaries and the creation of an associated mini-website. of uncatalogued photographers and details Other displays that made use of interactive of holdings. Further new sections covered DCMS- facilities included the contents of an album of funded projects to digitise eighteenth- and ‘Virtual’ carte-de-visite, photographs by Julia Margaret Cameron, open nineteenth-century caricatures and portrait prints, Bodelwyddan Castle NPG_AR_04_text.film 10/12/05 9:54 AM Page 25

the photographs of Bassano, and e-learning Amongst other developments, new FileMaker programmes in relation to perspective and the Pro Server software was introduced to host practice of portraiture. the Gallery’s databases and increase efficiency and speed in database operations; the New initiatives department assisted the ongoing Electronic The Gallery’s ‘behind-the-scenes’ systems Records Management programme to enable infrastructure continues to be strengthened, greater sharing of information on the internal and the members of the IT department worked computer network and has been working on closely with other departments on a series of the implementation of the Gallery’s new initiatives which are making real savings in time visual identity. and cost. Broadband connection to the internet was established for Gallery staff and has made Loans and acquisitions modules in the large financial savings as well as providing MultiMimsy collections-management database much faster and more efficient access. At the were implemented this year and are beginning same time the e-mail system was replaced with to automate and simplify work for other a more powerful and flexible Microsoft departments. Development of conservation Exchange server. Operational enhancements to and location modules is ongoing, again in the Gallery’s financial system, PS Financials, order to centralise and automate information have enabled the majority of payments to be for collections and conservation staff. made direct to payees’ bank accounts and The department has also been preparing data budget managers have online access to from a large database of records relating to real-time budgetary information. photographs by Elliott & Fry for conversion on to the Mimsy system next year. The introduction of a replacement computerised fundraising system, Raiser’s Edge, for the Finally, after six years in preparation, the new Communications and Development department edition of the Complete Illustrated Catalogue has enabled them to enhance the management was published. The department provided one of their activities. It allows the Gallery to develop of the two joint editors for the publication, its communication with its constituents and to undertook a large proportion of the initial make better decisions through the facilities for enhancement of catalogue records since tracking prospects, donors and gifts, event and 1998, and was responsible for generating membership management modules and analysis the 802-page volume, sorted by sitter initially and reporting capabilities. We have worked closely from the Mimsy database, then using another with the department on two further projects. behind-the-scenes database and other An e-newsletter was introduced, now with over automated tools to program the formatting 18,000 subscribers, and the website was modified of data into certain styles and templates and to enable visitors to register as subscribers, to adhere to certain conventions. In addition, numbers of which are growing at a rate of over the department provided all 8,000 digitised 700 per month. Greater efficiency is also expected images for the catalogue (see also page 40). through the new section on the website offering downloadable high-resolution images for registered members of the press, saving time on sending out expensive transparencies and providing a service by which journalists can obtain images for articles after working hours and at weekends.

The IT Gallery © Andrew Putler NPG_AR_04_text.film 10/12/05 9:54 AM Page 26

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David Blunkett visiting the BP Portrait Award exhibition

Visitors The Gallery welcomed 1,425,655 visitors during ABC1 social classification groups, while 93% the 2003/4 financial year. This is an increase of visitors, in terms of ethnicity, are white, with of 8% over last year and the second highest the remaining 7% made up from a range of recorded in the Gallery’s history. The highest figure ethnic and cultural backgrounds. 27% of visitors ever of 1,478,189 in 2001/2 was largely due were visiting the Gallery for the first time and, to the phenomenal success of the Mario Testino: of those who had visited before, 76% stated Portraits exhibition. This year the Gallery came that they had visited at least once during close to that figure through a combination of the past 12 months. This particularly high exhibitions, displays and events, including the percentage of repeat visitors is referred to in opening of the refurbished Regency in the Weldon some of the qualitative research carried out Galleries in May, Below Stairs and most recently by Rufus Leonard, revealing that the intimate the Cecil Beaton: Portraits and We Are The People and personal nature of the Gallery’s spaces, exhibitions. The monthly attendance figures show combined with the variety of work on display, that for eight months of the year the Gallery whether in the permanent collection or in the was busier than in the same months last year. temporary exhibitions, was a major factor in Visitors to the temporary exhibitions in the encouraging repeat visits. Wolfson and Porter Galleries in 2003/4 totalled 687,471, compared to 541,974 in 2002/3, Rufus Leonard’s research was undertaken as an increase of 27%. Once again the Gallery a result of the decision in 2003 to review the introduced timed ticketing for a major exhibition, Gallery’s visual identity. Its profile has developed Cecil Beaton: Portraits, building on the lessons and changed over the past few years, particularly learned from Mario Testino: Portraits to streamline since the opening of the Ondaatje Wing in 2000, the process. and it was keen to ensure that the message being conveyed to the public, especially through the Research during the year fell into two categories: various items of print, reflected the extensive generic quantitative research undertaken by MORI programme that it has to offer. The research and qualitative research undertaken by the design process involved interviewing members of staff consultancy Rufus Leonard to support their review and regular visitors to the Gallery as well as the of the Gallery’s visual identity. Members and, in addition, visitors to other galleries. The new visual identity was first seen MORI carried out three tranches of research, on the print for the Cecil Beaton exhibition and focusing on basic information such as visitors’ the Gallery’s quarterly leaflet, an important place of origin, age and social class. The results information brochure for communicating to indicate a similar pattern to previous years: both existing and potential audiences. 36% came from London, 37% were from outside A significant development emerging from this A poster for the the capital and 25% were overseas visitors. review has been the identification of four key Cecil Beaton: Portraits 92% of the Gallery’s audiences are from the themes, history, art, biography and fame, which exhibition NPG_AR_04_text.film 10/12/05 9:54 AM Page 27

people use to access the Gallery’s work. The first Schweppes Photographic Portrait Prize These themes will be developed in the Gallery’s was enthusiastically received by the press, with communications over the coming months. encouraging levels of coverage that will be developed in future years. The refurbishment The Gallery’s e-newsletter (page 25), established of the Regency in the Weldon Galleries and in December 2003 with an initial list of 6,000 the displays at Bodelwyddan Castle were contacts assembled from different departments, prominently covered. Several features focused has continued to grow steadily, reaching 18,000 on the Gallery’s main collection, including a subscribers by the end of the financial year. major piece on commissioning for Harpers and As well as obvious savings on traditional mailing Queen and a successful and ongoing tie-in with costs, the e-newsletter allows the Gallery to keep the Guardian Review for the ‘Interrupted Lives’ our audience informed of its many activities on lecture series. a much more frequent basis. It also enables the Gallery to devise special offers that provide The Gallery’s late-night opening scheme attracts added benefits to subscribers. The potential to a wide audience for the Thursday evening special develop this means of communication is lectures and talks as well as the Friday music, considerable. Research shows that 73% of the which has gathered new devotees for many Gallery’s visitors have access to e-mail, of whom different programmes, including classical, jazz, 61% are in favour of receiving information new and world music. A welcome return of the from the Gallery through this means. 18-strong choir ‘The Shout’ was a very popular event, taking in various parts of the Gallery for Media coverage of exhibitions, displays, events the perambulatory performance. and the collection as a whole remains a key ingredient in the Gallery’s continued success with The website continues to improve access to 29% of the audience citing some form of media the Gallery’s collections and work and is growing coverage as having influenced their decision to in popularity. This year there were 2.5 million visit. This year has also seen some significant user sessions, an increase of 93% on last year. television coverage of the exhibitions programme With 65% of all visits linked to searching the through increased dialogue with broadcasters collection, this remains by far the most and production companies. Collaborations with widely used feature. the BBC have resulted in high-profile programmes on Heroes & Villains, Below Stairs and Cecil Beaton, The overall success of the Gallery in terms while the Gallery worked with Coluga Pictures of visitors is reflected in The Portrait Restaurant on programmes about David Hockney and the which, now in its fourth year, has enjoyed its portrait of Charles Saumarez Smith by Tom Phillips, most successful period to date both in the for BBC FOUR and Channel 4 respectively. number of diners and in overall turnover. The clientele remains an eclectic mix. In addition This year’s charging exhibitions, Below Stairs to well-known politicians and public figures, the and Cecil Beaton: Portraits, achieved extensive Restaurant has developed a devoted following coverage, which successfully reached target of local businessmen and women, many of audiences. Below Stairs was widely covered whom frequent it two or three times a week. in the national press from the Guardian to the Daily Mail, with features on it in Country Life, World of Interiors and the National Trust Magazine. Cecil Beaton: Portraits was covered in Elle, Vogue, InStyle and the Sunday Times Style section, among others, alongside important articles in the Telegraph Magazine, Guardian Review, the Independent,theDaily Express and You Magazine (Mail on Sunday).

Robin Antoniewicz, winner of the Schweppes Photographic Portrait Prize 2003, and Mairead NPG_AR_04_text.film 10/12/05 9:54 AM Page 28

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The book cover for Heroes & Villains

Trading Publishing bestsellers list, and over 10,500 copies have The Gallery published eight new titles during been sold to date. Another strong-selling trade the year and one educational resource pack. title was the paperback edition of Mario Testino: For the second year a catalogue was published Portraits, which sold more than 1,000 copies to accompany the BP Portrait Award and sales through Waterstone’s alone over the more than doubled, both in the Gallery shops Christmas period. and the book trade, to a total of 8,500 copies. The Schweppes Photographic Portrait Prize In February and March 2004 the department gave the department the opportunity to publish published exhibition catalogues to accompany its second competition catalogue of the year. Cecil Beaton: Portraits and We Are The People, Like that for the BP, the Schweppes catalogue as well as the Complete Illustrated Catalogue was produced in a very short time and sold more (CIC). Retailing for £50, the CIC (see page 25) than twice the number of the Kobal Award is the first comprehensive catalogue of the catalogue which it replaced. collection in almost twenty-five years.

Earlier in the year an educational resource A small paperback version of the Beaton pack was published in conjunction with the catalogue was published simultaneously with National Maritime Museum to accompany the hardback and immediately required a reprint, the Elizabeth I exhibition there. despite an initial print run of more than 6,000 copies. A record percentage of exhibition visitors The catalogue for Below Stairs received bought a catalogue and a significant quantity excellent reviews and appeared for six weeks of the hardback edition was sold as a co-edition in the book trade’s bestsellers list. The autumn to Yale University Press in the United States. saw publication of Heroes & Villains, which combined the talents of Gerald Scarfe with text by more than fifty writers, celebrities and experts taking sides about the virtues, or otherwise, of famous British men and women. The book, and the small Bookshop Gallery exhibition it spawned, was the subject of a BBC television documentary and generated considerable media interest. Gerald Scarfe took part in numerous events around the country to promote the book; it was selected by Waterstone’s and the independent booksellers’ Christmas catalogues, which together reached over 3 million consumers. The book cover for For ten weeks the book appeared in the national Beaton: Portraits NPG_AR_04_text.film 10/12/05 9:54 AM Page 29

The shops The Picture Library As ever, the exhibition and publishing Retail gross margin in the shops increased by programmes proved to be the most important almost 2% in the year and by significantly more factors in drawing customers to our shops. in the Picture Library. The latter was achieved Despite the commercial success of Julia against the backdrop of a rapidly changing Margaret Cameron, the Gallery’s second most marketplace for fine art images, where digitisation profitable exhibition up to that point, the year is leading to easier and quicker picture research got off to a slow start, in common with most and significantly more efficient delivery systems. cultural trading operations. Unusually, two exhibitions (You Look Beautiful Like That and Income from traditional sources, such as A Gardener’s Labyrinth) were based on existing black-and-white prints and the hire of colour books from other publishers, which somewhat transparencies, has declined over the past year, reduced their profitability. Sales for the while the supply of digital media has more Schweppes and Below Stairs exhibitions than doubled. exceeded forecast, however, and strong sales during the Beaton show, which had overtaken The new post of copyright officer began to the Cameron as the Gallery’s second most demonstrate commercial as well as public service profitable exhibition ever after less than six rewards. A number of artists and estates have weeks, ensured that the year finished well appointed the Gallery as their agent for portraits, (12% up on 2002/3). both within our collection and elsewhere.

Images of Art and Culture, the initiative undertaken jointly by a number of national collections to market their picture libraries and launched in 2000, was dissolved when the remaining partners chose to redirect their resources. The Gallery is focusing on developing the idea of a Portrait Picture Agency and on its digitisation programme. The Agency will potentially build on the work already begun on representing portraits in other collections, and it will provide a natural resource for picture researchers looking for portraits of famous British men and women.

More than 400,000 postcards were printed this year and other new products were specifically developed for A Gardener’s Labyrinth and the Beaton exhibition. Earlier in the year, a mobile shop was designed with input from the retail team and installed in the Porter Gallery in time for the Gardener’s Labyrinth exhibition. It proved successful in generating additional sales during that and subsequent shows, as well as at author events elsewhere in the Gallery. The small exhibition of Heroes & Villains, caricatures by Gerald Scarfe, helped attract record numbers of customers to the bookshop, where sales were 47% up on last year. Almost 3,500 copies of the book sold through the Gallery after publication in September.

The Cecil Beaton: Portraits exhibition shop NPG_AR_04_text.film 10/12/05 9:54 AM Page 30

30

Peter Saville by Wolfgang Tillmans, 2002 © the artist purchased with support from the Deloitte Acquisition Fund

Fundraising and The overall income generated by the Development Another important new sponsorship was department was more than originally forecast. the Schweppes Photographic Portrait Prize. Development The target had been set with the economic climate The John Kobal Photographic Portrait Award in mind but, as with the previous year, both had run for ten successful years at the Gallery, exhibition sponsorship and evening hire did but when the John Kobal Foundation announced exceptionally well. Corporate membership did the end of their involvement, the Gallery sought not quite achieve its target, even with the a new sponsor. Schweppes, with their clever introduction of the Regency Partner level. use of photography in the award-winning Support from trusts and foundations was ‘Sch… you know who?’ campaign, felt that consistently good with a number of new trusts the project fitted naturally with their brand. supporting the Gallery’s work, in particular the increasingly popular programme of music These two new sustainable partnerships join in the galleries on Friday evenings. the Portrait Award, now in its thirteenth year of sponsorship from BP, a long-term level of Corporate supporters and sponsors support that continues to be greatly valued Two of the great success stories for corporate and appreciated by the Gallery. partnership during the year came from the securing of additional long-term partners. EPSON and Olympus joined forces to sponsor the popular Lichfield: The Early Years 1962–1982 In September 2003 the Gallery embarked upon in the Balcony Gallery. A celebrity-filled private a three-year partnership with Deloitte which view was held to launch this glamorous display. makes them the Gallery’s sole Contemporary Olympus supplied cameras and EPSON provided Photographic Displays Partner. Deloitte are printers so that guests could have their portrait now supporting several areas within the Gallery’s taken and printed off on the spot. ground-floor contemporary photographic displays, as well as funding the Deloitte Award as part of the Schweppes Photographic Portrait Prize. The winner of the Award was nineteen-year-old David Yeo with Brothers and Sisters, a beautiful study of his young cousins. In addition, Deloitte have generously provided the Deloitte Acquisition Fund for photographic portraits of figures from business and public life, as well as helping the Gallery to develop its UK touring programme of contemporary photographic portraits. NPG_AR_04_text.film 10/12/05 9:54 AM Page 31

We were delighted to welcome new sponsors A number of events marked the opening week Bosch Lawn & Garden and Agriframes as of the Weldon Galleries in May 2003, including supporters of A Gardener’s Labyrinth: Portraits a staff evening, a Patrons’ preview, an afternoon of People, Plants and Places. Both companies viewing for our trust and foundation contacts donated a prize for a visitor competition and and a special celebration dinner in The Portrait Bosch Lawn & Garden produced a children’s Restaurant for all those closely involved with the quiz leaflet for younger visitors. refurbishment, above all those who had so generously supported the project. The Cecil Beaton: Portraits exhibition was sponsored by Herbert Smith, first-time sponsors Several new companies joined the Gallery’s of the Gallery. The company held their own corporate partnership scheme. We welcomed BT exclusive private view before the Gallery’s as new Regency Partners and Manning Selvage opening party, and their staff enjoyed special & Lee, Taylor Wessing and Citigroup as new breakfast and evening viewings of the exhibition. Corporate Members. Continuing their support The sponsorship gained an Arts & Business New this year were Anglo American, BBA Group, Partners Award, enabling a programme of staff Chubb Insurance, Deloitte, Freshfields Brukhaus development at Herbert Smith, including team- Deringer, JPMorgan, Korn/Ferry International, building and mentoring, to take place as well Lehman Brothers, Linklaters and WPP Group. as work with primary and secondary schools in the sponsor’s local community. Classic FM supported the Gallery for the third time with a generous in-kind sponsorship, embracing many on-air mentions and an entire programme presented by Natalie Wheen with music linked to aspects of the exhibition. We were extremely grateful to both Vogue and Sotheby’s for their support. Our own Trustee, Alexandra Shulman, editor of Vogue, hosted the glamorous opening party, at which guests included Nigella Lawson, David Hockney, Koo Stark, Mario Testino and Janet Street-Porter.

A successful fundraising dinner was held prior to the opening of Below Stairs: 400 Years of Servants’ Portraits with members of the The year encompassed a busy events calendar. Development Board generously hosting tables Corporate supporters made good use of their at the event. specially rated Gallery hire, giving a number of breakfasts, receptions and dinners. The Gallery ran staff photography workshops for Linklaters, Freshfields, BP, Schweppes and JPMorgan. A number of other regular clients were welcomed back to host their annual events: the Evening Standard Schools’ Award, the Hawthornden Prize, Odgers Ray and Berndtson; and, prior to Christmas, BSkyB, Mott MacDonald and EPR Architects.

The Schweppes Photographic Portrait Prize 2003 Entertaining in the Weldon Galleries © Mark Nicholson NPG_AR_04_text.film 10/12/05 9:54 AM Page 32

Events to John Morton Morris for support for the collection 32 There were a number of other special events, and to the executors of Elizabeth Weisz for her including the authors’ party hosted by Orion Books, generous legacy for the acquisition of caricatures. the Lichfield opening party and the shooting of the film Closer in The Portrait Restaurant starring We greatly appreciate the continued commitment Julia Roberts and Clive Owen. Most notable was of the Leverhulme Trust in funding a programme a reception throughout the whole Gallery attended of research fellowships at the Gallery, which will by 1,500 guests, including Nelson Mandela be completed in summer 2004. We very much and Bill Clinton, to mark the centenary of the look forward to working with the Pilgrim Trust Rhodes Trust and the establishment of the over the next three years to develop a Frame Mandela Rhodes Foundation. Conservation Study Programme for young conservators, building on the current programme Trusts and foundations funded by the Radcliffe Trust. This has been a strong year for the receipt of donations and ongoing commitments from Patrons charitable trusts and foundations. We have Patrons’ membership has been growing steadily enjoyed particularly high levels of support from throughout the year and we are delighted that trusts for the Gallery’s expanding access and our retention rate has been high, with most education programmes. This has been the third of our Patrons renewing their association with year of support for the access programme from us and offering positive feedback about the Fundraising and the John Ellerman Foundation and as a result programme of Gallery-based events which they Development significant improvements have been made have enjoyed. These included a preview of the in this area since 2001. BP Portrait Award 2003 with the Director at the beginning of June, and in autumn 2003 a preview Among several forward commitments from trusts of Below Stairs: 400 Years of Servants’ Portraits, and foundations the Heritage Lottery Fund has guided by our guest curators, Giles Waterfield agreed to finance a three-year programme of and Anne French. The Annual Patrons’ summer outreach work with new audiences, culminating event this year was the rare opportunity to visit in a series of exhibitions in the Education Studio the garden of former Director Sir Roy Strong and Gallery, and the Vodafone UK Foundation has the late Dr Julia Trevelyan Oman at The Laskett pledged long-term support for a number of access in Herefordshire, where Sir Roy very kindly gave initiatives including the development of new us a guided tour. interpretive materials for visually impaired visitors. We are very grateful to the Dulverton In November, Sir Christopher Ondaatje Trust for agreeing to continue their support generously supported a Below Stairs Patrons’ for the Gallery’s education work by funding evening designed to encourage potential donors a programme of video-conferencing to make and supporters to join the Patrons’ programme. resources available to rural and hospital schools. We were delighted to have the actor and screenwriter Julian Fellowes as our guest For support for the collections, we are most speaker, and a number of those who attended grateful to the Heritage Lottery Fund, the this successful, entertaining and enjoyable National Art Collections Fund, the Friends occasion have become new Patrons. of the National Libraries, the Garfield Weston Foundation, the Clore Duffield Foundation and many private donors and trusts (listed on pages 34 and 35) for supporting the acquisition of the magnificent portrait of Omai, Sir Joseph Banks and Dr Daniel Solander by William Parry, and the portrait of Mary Moser by George Romney.

Work continued on the next Jerwood Portrait Commission as part of our collaboration with the Jerwood Charity, who so generously made possible the Thomas Adès portrait last year. The new portrait, by Justin Mortimer, will be unveiled in September 2004. We are particularly grateful NPG_AR_04_text.film 10/12/05 9:54 AM Page 33

Membership Membership was somewhat disappointing at the beginning of the financial year, but has been steadily increasing since the New Year and now stands at approximately 2,000. A number of innovative marketing campaigns were launched during the Cecil Beaton: Portraits exhibition to attract new Members, and they have proved successful. We continue to work towards improving the visibility of the membership programme to encourage a more significant number of regular visitors to join.

The Development Board, under the leadership of Amelia Chilcott Fawcett, continued to give invaluable support to the Communications and Development Director and the fundraising team. Two working groups from among members of the Development Board were set up – a corporate advisory group chaired by Margaret Exley and an individual advisory group chaired by Jane Benson. These groups met more frequently than the main board and were able to give more concentrated attention to different aspects of the Gallery’s fundraising and income- generation strategy.

The winning photograph in the Deloitte Award, Brothers and Sisters (from the series Family Members) by David Yeo, 2003 © the artist NPG_AR_04_text.film 10/12/05 9:54 AM Page 34

The Gallery is grateful to the following for Board of American Friends of the National 34 their sponsorship and support of exhibitions Portrait Gallery (London) Foundation Inc and corporate membership in 2003/4: David Alexander, Hon. CBE Dr Walter E. Ashley (President) Pim Baxter (Secretary) Deloitte – Contemporary Photographic Mrs Drue Heinz, Hon. DBE (Founder Benefactor) Displays Partner Professor William Homer Lichfield: The Early Years 1962–1982 Sandy Nairne Sponsored by EPSON and Olympus A Gardener’s Labyrinth: The Gallery is grateful to the following Portraits of People, Plants and Places charitable trusts and foundations for Sponsored by Bosch Lawn & Garden, supported by Agriframes their support in 2003/4 and beyond: BP Portrait Award 2003 Sponsored by BP plc Access, education and national programmes Department for Culture, Media and Sport (Strategic The Schweppes Photographic Portrait Prize Commissioning Fund) Sponsored by Schweppes Department for Education and Skills (Strategic Including the Deloitte Award Commissioning Fund) Media support from the British Journal Heritage Lottery Fund (from 2004) of Photography The ADAPT Trust and the Guide Dogs for the Blind Cecil Beaton: Portraits Association Sponsored by Herbert Smith Carlton Television Trust In association with Sotheby’s and Vogue The Dulverton Trust Recommended by Classic FM The John Ellerman Foundation Fundraising and Supported by Arts & Business New Partners The Rayne Foundation (from 2004) Development Towers Perrin Regency Partners The Vodafone UK Foundation BP plc (Honorary) BT Frame conservation internship programme Corporate Towers Perrin The Pilgrim Trust (from 2004) The Radcliffe Trust Partnership Corporate Members Anglo American Friday music programme Programme BBA Group Britten-Pears Foundation Chubb Insurance Holst Foundation 2003/4 Citigroup Musicians’ Benevolent Fund Deloitte PRS Foundation Freshfields Brukhaus Deringer JPMorgan Interrupted Lives Korn/Ferry International Arts Council England Lehman Brothers Linklaters Jerwood Portrait Commission Manning, Selvage & Lee Jerwood Charity Taylor Wessing WPP Group Research and cataloguing Department for Culture, Media and Sport Development Board (Capital Challenge Fund) Jane Benson, LVO, OBE ** The Hollick Family Charitable Trust Margaret Exley, CBE * The Leverhulme Trust (Leverhulme Fellowship Amelia Chilcott Fawcett, CBE * (Chair) in the History of Portraiture) Frances Jackson ** The Paul Mellon Centre for Studies in British Art Charles McVeigh III * Philip Mould ** Acquisition of the portrait of Mary Moser Rufus Olins (from October 2003) * Heritage Lottery Fund Sir Christopher Ondaatje, CBE, OC ** National Art Collections Fund Mark Paviour * Michael Potter * Sir David Scholey, CBE Vanni Treves ** The Lord Tugendhat * Anthony Weldon ** Sir John Weston, KCMG * Member of Corporate Advisory Group ** Member of Individual Advisory Group NPG_AR_04_text.film 10/12/05 9:54 AM Page 35

Acquisition of the portrait of Omai, Sir Joseph Ron Else and Sarah Jennings Banks and Dr Daniel Solander, jointly with the Amelia Chilcott Fawcett, CBE The Fine Family Foundation Captain Cook Memorial Museum, Whitby, and Ruth and Harry Fitzgibbons the National Museums and Galleries of Wales The Hon. William Gibson (including support to each of the three Gavin Graham Toby and Jennifer Greenbury institutions participating in the acquisition) Mrs Sue Hammerson, OBE Claude Hankes-Drielsma A private benefactor and the Normanby Trust Richard Hayden The Ancaster Trust Catherine W. Hays and Piotr Karasinski The Marquis of Anglesey Mr and Mrs Robert Helms Sir David Attenborough, CH, CVO, CBE Lady Heseltine Lawrence Banks, CBE Mr and Mrs Gerald Hines Linda L. Brownrigg Robert Holden The Clore Duffield Foundation Lady Heather Hooper Sir Harry Djanogly, CBE Mr and Mrs Jonathan Horsfall Turner Ms Flora Fraser and Mr Peter Soros Mr and Mrs Charles Jackson Sir John Gray Peter A.B. Johnson Sir John Guinness, CB Barbara Thomas Judge The Rt. Hon. Neil Kinnock Sir John and Lady Kemp-Welch Randolph and Lara Lerner The de Laszlo Foundation Jon and Lillian Lovelace Kathleen Lavidge and Edward McKinley Patricia Mowbray, MBE Stanton D. Loring National Art Collections Fund Jon and Lillian Lovelace Sir Christopher Ondaatje, CBE, OC Mr and Mrs Charles McVeigh The Earl of Plymouth and Viscount Windsor Brian Marsh Hans and Märit Rausing Lord and Lady Moore Jeremy Rye Mr and Mrs Philip Mould Amanda Sebestyen Sir Charles and Lady Nunneley The Swan Trust Midge and Simon Palley Lord and Lady Tugendhat Mr and Mrs Robert Pickering The Garfield Weston Foundation Mr and Mrs Andrew Power Sir Kyffin Williams Mrs D.J. Prosser and several other donors C. and S. Reeves Charitable Trust Lady Ripley Mr and Mrs Derald H. Ruttenberg The Gallery is grateful to the following Mr and Mrs Michael Samuel Life Patrons, Patrons and donors for Sylvia Scheuer their support in 2003/4: Thomas and Elaine Schoch Richard and Victoria Sharp Mrs Susan Singer Honorary Patrons Sir Sigmund Sternberg Dr Walter E. Ashley Hugh and Catherine Stevenson The Lord Carrington, KG, GCMG, CH, PC The Swan Trust Mrs Drue Heinz, Hon. DBE Robert and Patricia Swannell The Lord Weidenfeld Mr and Mrs Louis A. Tanner Mrs Freda Taylor Life Patrons Vanni and Angela Treves Ms C. Allegra Berman Lord and Lady Tugendhat Dr and Mrs Mark Cecil Johnny Van Haeften Ltd The Coral Samuel Charitable Trust Anthony Weldon Sir Harry Djanogly, CBE George and Patricia White Mr and Mrs Robin Fleming Ms Flora Fraser and Mr Peter Soros Individual donors Allan and Louise Hirst Mrs Jayne Wrightsman Sir Christopher Ondaatje, CBE, OC and several anonymous donors Sir David and Lady Scholey Legacies Patrons Lord Marcus Sieff Sir Rudolph and Lady Agnew Elizabeth Weisz Mr David Alexander, Hon. CBE, and Mrs Alexander Mark Armitage Charitable Trust Mr and Mrs Johny Armstrong Edgar Astaire Christopher and Lorna Bown Mrs James Brice The British Land Company plc Linda L. Brownrigg The Lord Carrington, KG, GCMG, CH, PC Mrs Lisa von Clemm Andrew S. Dalton Mr and Mrs David Dalziel Mr and Mrs Robert Donnalley NPG_AR_04_text.film 10/12/05 9:54 AM Page 36

The baseline Grant-in-Aid of £5.5m from the Since the Gallery has no other unrestricted 36 DCMS has been at cash standstill between reserves, the Trustees have designated an 2001/2 and 2003/4, making it essential for the Investment and Contingency Fund for Gallery to increase its self-generated income investment in one-off projects that contribute in order to maintain its existing resource base to the Gallery’s strategic objectives and for and to embark on new initiatives. The Gallery the management of fluctuations in cyclical has been successful in obtaining Strategic expenditure spanning several years, such as the Commissioning Funding (jointly sponsored exhibitions programme. In 2003/4 a total of by the DCMS and the DfES) of £300,000 for £0.6m from the Fund was invested in the East 2003/4 and in making the business case for an Wing staff accommodation project and Early increase to its baseline Grant-in-Aid. However, Twentieth Century Galleries refurbishments, the the 10% increase in Grant-in-Aid receivable in visual identity review and equipment upgrades, 2004/5 serves only to restore the purchasing as well as providing bridging monies to the power of the Gallery’s grant in 2000/1. 2003/4 2004/5 increase in grant-in-aid in order to avoid Grant-in-Aid per visitor to St Martin’s Place and budget cuts which would have impaired the the three Regional Partners was £3.45 compared Gallery’s activities. The Fund stood at £0.8m to £3.77 in 2002/3, maintaining the Gallery as at 31 March 2004, of which £0.1m is reserved among the most effective institutions within to smooth fluctuations on exhibitions the museums and galleries sector in terms expenditure, and £0.2m has been allocated of this key performance indicator. in 2004/5 to investment in implementing Financial recommendations arising from the visual identity Report Net self-generated income, boosted by the review, modernising IT delivery, fixed-term success of the Cecil Beaton: Portraits exhibition, appointments in records management and in represented 35% of the Gallery’s total net the Heinz Archive, feasibility studies for storage income in 2003/4 (36% in 2002/3). Net income and a programme for families and young is calculated after deducting the costs of trading people. The Gallery’s remaining unrestricted and fundraising activities and excludes donated reserves provide minimal contingency within the acquisitions and donations for building projects. present international and economic climate. Revenue fundraising has increased by 11% to £1.7m, permitting a strengthening of resources The following unaudited figures have been in the National Strategy, Marketing and Finance extracted from the Gallery’s financial records. and additional funding for the Education For a full understanding of the Gallery’s financial programme, Accommodation and IT. affairs, reference should be made to the Annual Report and Accounts for the year ended 31 March Excluding capital reserves, unrestricted funds 2004, available on the Gallery’s website decreased by £0.5m. Retained surpluses in the www.npg.org.uk General Fund were maintained at £0.9m in 2003/4 in accordance with the reserves policy, which ensures that the Gallery has uncommitted reserves to cover three-quarters of its average stock levels and to counter any unexpected reduction in self-generated income. NPG_AR_04_text.film 10/12/05 9:54 AM Page 37

Income For operations, acquisitions and capital

Grant-in-Aid Trading (gross retail and catering franchise) Exhibitions charges and sponsorship Evening hire and corporate membership Individual giving (including legacies) Capital donations (including donated acquisitions) Heritage Lottery Fund Other 127 347 304 212 1,004 1,712 203 353 174 254 1,104 5,732 5,712 1,435

2,241 2,626

2003/4 £000s 2002/3 £000s

Expenditure Excluding capital but including depreciation

Collection management Trading Exhibitions and displays Education Publicity and information Fundraising Curatorial and archive Support and accommodation

2,322 2,733 2,154 2,559

707 620

415 389

1,789 893 794 1,954

500 635 1,930 1,730

2003/4 £000s 2002/3 £000s NPG_AR_04_text.film 10/12/05 9:54 AM Page 38

Grant-in-Aid per visitor * (£) 95/96 96/97 97/98 98/99 99/00 00/01 01/02 02/03 03/04 38 National Portrait Gallery 4.87 4.43 4.08 4.13 4.19 3.57 3.35 3.77 3.45 National Gallery 4.69 4.68 4.36 4.35 4.33 4.17 4.06 4.98 4.74 Tate 6.30 7.52 8.50 6.40 7.88 3.72 4.85 4.39 5.95 British Museum 5.45 5.11 5.23 6.16 6.31 7.59 7.48 7.90 8.29 Imperial War Museum 8.47 8.23 8.15 7.74 8.83 7.44 8.15 8.23 8.68 Science Museum 8.04 8.11 8.79 9.23 8.75 9.11 9.00 7.71 9.63 National Maritime Museum 18.10 26.25 22.34 21.25 12.67 14.63 12.54 11.34 10.69 Wallace Collection 11.88 10.56 10.56 10.00 13.16 8.08 9.61 11.11 13.95 Natural History Museum 19.73 15.28 15.22 14.52 17.41 18.31 15.43 13.14 14.14 Victoria & Albert Museum 20.65 19.37 20.62 19.40 23.44 21.79 17.05 13.91 14.22

Source: DCMS Annual Report 2004 * Includes capital and one-off project funding London plus Regional Partners All venues Figures for other national museums and galleries are estimates

Statement 2003/4 2002/3 (£000s) (£000s) of financial Income for operations, acquisitions and capital activities Grant-in-Aid 5,712 5,732 Exhibition charges and sponsorship 1,104 1,435 Trading (gross) 2,081 2,475 Catering franchise 160 151 Evening hire 250 160 Corporate members 103 94 Donations for building projects - 508 Other donations (including donated acquisitions) 1,004 1,204 Individual giving 136 124 Legacies 67 50 Heritage Lottery Fund 127 304 Other 347 212 11,091 12,449

Expenditure excluding capital but including depreciation Collection management 2,733 2,559 Curatorial and archive 707 620 Exhibitions and displays 1,930 1,730 Education 635 500 Publicity and information 893 794 Fundraising 415 389 Trading 1,789 1,954 Support and accommodation 2,322 2,155 11,424 10,701

Net incoming resources (333) 1,748 Gain/(loss) on revaluation of land and buildings (3,847) 585 (4,180) 2,333 Gain/(loss) on investment assets 2 (3) Net movement in funds (4,178) 2,330 NPG_AR_04_text.film 10/12/05 9:54 AM Page 39

Balance sheet at 31 March 2004 at 31 March 2003 (£000s) (£000s) Assets Fixed assets Tangible assets Land and buildings 43,002 46,741 Furniture and equipment 119 273 Assets in the course of construction 309 1,145 Acquisitions (since 1 April 2002/3) 2,876 2,096 46,306 50,255 Investments 33 32 Total fixed assets 46,339 50,287

Current assets Investments 119 116 Stocks 720 708 Debtors and prepayments 855 876 Cash at bank and in hand 2,030 2,119 3,724 3,819 Current liabilities Creditors falling due within one year (925) (789) Net current assets 2,799 3,030

Net assets 49,138 53,317

Reserves Unrestricted designated reserves Collection purchases 17 65

Capital reserves represent the Capital reserve 7,991 8,081 net book value of tangible assets, Investment & Contingency and Deferred Project Fund 1,271 1,781 including acquisitions, purchased 9,279 9,927 with unrestricted funds as well as the value of the main Gallery vested with Trustees; these funds Unrestricted general funds are not available for spending. Retained surpluses 877 877

Restricted capital reserves Capital reserves (including vested assets) 35,689 40,079 Capitalised acquisitions reserve 2,969 2,096 38,658 42,175

Other restricted funds Other grants and donations 318 322 Dame Helen Gardner Bequest 6 16 324 338

Total reserves 49,138 53,317 NPG_AR_04_text.film 10/12/05 9:54 AM Page 40

In January 2004 a new and greatly expanded Work continued on the project to research and 40 edition of the Gallery’s Complete Illustrated catalogue the mezzotints of the Restoration Catalogue was published. Edited by David Saywell print publishers Alexander Browne, Richard and Jacob Simon, the catalogue records every Thomson and John Smith, a project part-funded painting, drawing, miniature, print, photograph by the Paul Mellon Centre. The two Mellon and sculpture in the main collection, amounting researchers, Carol Blackett-Ord and Simon to over 10,500 entries, with more than 8,000 Turner, researched prints in ten collections illustrations, recording the portraits of the outside the Gallery, both national and greatest men and women in British history. international, and identified the locations Another catalogue is in the press, Mid-Georgian of many of the original paintings. Altogether Portraits, 1760–1790, a catalogue raisonné of nearly 400 portrait prints were researched and the Gallery’s late eighteenth-century collection the illustrated Browne, Thomson and Smith which has been researched and written by catalogues on the Gallery’s website will be John Ingamells, with generous support from a useful addition to the understanding the Paul Mellon Centre for Studies in British Art. of portraiture from Lely to Kneller. This catalogue, to be published in summer 2004, completes the series of detailed collection The Gallery continues to explore opportunities catalogues for the period 1500 to 1860. for maintaining a high level of research activity Preparations are now in hand for further detailed in spite of a relatively low resource base. catalogues to cover the collection from 1860 Research to 1939, subject to the necessary resources Dr Tarnya Cooper, Curator, Sixteenth Century, becoming available. Staff responsible for the published a popular essay on images of Elizabeth I, Gallery’s other major research project of recent ‘The Public Face of Female Power, Popular Portraits years – the provision of over 10,000 portrait of Queen Elizabeth’, in History Today in May illustrations for the Oxford Dictionary of 2003. In July she organised a conference at the National Biography – continued to advise Gallery, Picturing Presence: Portraiture and during the production stages. We await the Patronage in Elizabethan England, and gave Dictionary’s publication in September 2004. a paper entitled ‘Pious Bodies, Portraits of Professionals in Elizabethan England’. The Gallery’s Leverhulme Fellowship in the In September she organised and contributed History of Portraiture continued to bear fruit. to a study day on Samuel Pepys in collaboration The first Fellow, Matthew Craske, used parts with the Museum of London. Through her work of his fellowship work to contribute a chapter at University College London she published an to the publication accompanying the exhibition exhibition catalogue, Paper Cities: Topography Below Stairs: 400 Years of Servants’ Portraits. and Imagination in Urban Europe 1490–1760 The second Fellow, Jan Marsh, used her year to in September. advance her work on representations of figures of African ancestry in Britain in the nineteenth Katharine Eustace, Curator, Twentieth Century, century. She also contributed greatly to the held the Curatorial Fellowship at the Clark Art interpretation of two key paintings in the Institute, Williamstown, for June. She contributed Gallery’s collection that include black subjects. the entry on Augustus John’s T.E. Lawrence We welcomed Victor Morgan from the University for the Folio Society’s forthcoming 100 Great of East Anglia as our third Leverhulme Fellow Portraits, a review of the catalogue British to work on the relationship between reputation Sculpture 1470–2000 (V&A, 2002) for the and portraits in the Tudor and Stuart periods. Sculpture Journal, and an essay in the publication devoted to the painting High Treason: The Trial of Roger Casement by Sir John Lavery, published by the King’s Inns, Dublin. She continues to sit on the Advisory Committee to the Royal Mint on Coins, Medals, Seals and Decorations and on the editorial board of the Sculpture Journal. NPG_AR_04_text.film 10/12/05 9:54 AM Page 41

Dr Peter Funnell, Curator, Nineteenth Century, Sandy Nairne, Director, gave a lecture entitled spoke on ‘Portraiture and Masculinity’ in ‘A Candle to History: why do portraits matter connection with the exhibition High Society: today?’ at Falmouth College of Arts in October The Life and Art of Sir Francis Grant at the 2003. During the year he continued to serve Scottish National Portrait Gallery, Edinburgh, on the Council of the British School at Rome, in September. He also gave a paper on ‘Portraiture the Fabric Advisory Committee of St Paul’s and Biography’ at an Oxford Dictionary of Cathedral, the Public Art Group for Westminster National Biography seminar in November. City Council and the Board of Trustees of Artangel. He completed his service of nine years Clare Gittings, Education Officer, spoke on as a governor of Middlesex University, and portraits of Elizabeth I at the Cambridge History in March 2004 he co-chaired a session at the Festival in September and delivered a lecture Salzburg Seminar entitled ‘Cultural Institutions in February at the University of Leicester on in Transition: making the case for culture’. ‘Portraying the Dead in Early Modern England’. Dr Lucy Peltz, Curator, Eighteenth Century, was Roger Hargreaves, Photography Education organizer and chair of Regarding the Regency. Officer, gave papers on ‘Circling the Square: The Possibilities of Portraiture in ‘this age of the coincidence of photography and Trafalgar personality’, a two-day academic conference Square’ at the National Gallery’s Square Politics held at the Gallery with the support of the conference, on ‘Photographic Scrutiny of the Paul Mellon Centre for Studies in British Art Face’ for the Faciality conference, jointly in October 2003. She also delivered the paper organised by the Gallery and the Royal College ‘A Friendly Gathering: the social politics of of Art, and on ‘Photography, Image and extra-illustration in Horace Walpole’s circle’, Artefact’ for The Treason of Images: Teaching at Collecting and the Imagination: Horace Modern Art, held at Tate Modern in February. Walpole at Strawberry Hill, a symposium held He published an article on Julia Margaret at the Paul Mellon Centre for Studies in British Cameron in the Times Educational Supplement Art in December 2003. In November 2003 and articles in four issues of the Royal she was elected to the editorial board of the Photographic Society Journal. Walpole Society for a term of four years.

Ruth Kenny, Assistant Curator, completed a Jacob Simon, Chief Curator, published paper on ‘Sexual Politics; or John Stuart Earl of Thomas Johnson’s ‘The Life of the Author’ Bute and Augusta, Dowager Princess of Wales as a periodical article in Furniture History in in English Graphic Satire, 1760–62’, published December 2003 and as a separate publication. in Immediations, the postgraduate journal of He gave a paper, ‘Structure and Culture: success the Courtauld Institute of Art, spring 2004. and failure in museums and cultural institutions in Britain’, at the Association of Art Historians Catharine MacLeod, Curator, Seventeenth annual conference in April 2003. Century, gave a paper on portraits of Elizabeth I when princess at the conference Picturing Presence: Portraiture and Patronage in Elizabethan England at the Gallery in July 2003. She also completed her work, begun in summer 1997, as Associate Editor with responsibility for artists 1500–1699 for the Oxford Dictionary of National Biography. She contributed catalogue entries to Gothic: Art for England 1400–1547, the catalogue of the exhibition of that title at the Victoria and Albert Museum in September 2003. NPG_AR_04_text.film 10/12/05 9:54 AM Page 42

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Leigh Bowery by Stephen Willats, 1984 © the artist

Single and double portraits Sandra Blow (1925–) List of Painter Gillian Ayres (1930–) Roger Mayne (1929–) Acquisitions 5 1 Painter, mural artist and teacher P997: modern bromide print, 243 x 370 mm (9 ⁄8 x 14 ⁄2 in), Roger Mayne (1929–) signed and dated below image, and on reverse, signed, 7 3 P995: modern bromide print, 226 x 341 mm (8 ⁄8 x 13 ⁄8 in), inscribed and dated, 1966 signed and dated below image, and on reverse, signed, Purchased 2003 inscribed and dated, 1960 David Bomberg (1890–1957) Purchased 2003 Painter Gillian Ayres (1930–) Self-portrait 7 Painter, mural artist and teacher 6653: oil on board, 608 x 505 mm (24 x 19 ⁄8 in) uneven, Roger Mayne (1929–) circa 1932 1 1 P996: modern bromide print, 211 x 311 mm (8 ⁄4 x 12 ⁄4 in), Purchased with support from the National Art Collections signed and dated below image, and on reverse, signed, Fund 2003 inscribed and dated, 1960 Leigh Bowery (1961–1994) Purchased 2003 Performance artist Benjamin Disraeli, Earl of Beaconsfield (1804–1881) Stephen Willats (1943–) Prime Minister and novelist What is he trying to get at? Where does he want to go? Carlo Pellegrini (1839–1889) 6660: two-panel work (photographic prints, photographic 7 3 6659: watercolour, 302 x 161 mm (11 ⁄8 x 6 ⁄8 in), dye, acrylic paint, ink and objects mounted on board), each 7 1 signed, and on overmount, inscribed and dated, published in panel 1520 x 980 mm (59 ⁄8 x 38 ⁄2 in), inscribed, with tower 3 1 Vanity Fair 30 January 1869 of ten painted breeze blocks, 2000 x 440 (78 ⁄4 x 17 ⁄4 in), Purchased 2004 1984 Purchased 2004 Dorothea Beale (1831–1906) Principal of Cheltenham Ladies’ College Stephen Conroy (1964–) G.H. Martyn & Sons Artist 1 7 P1004: cabinet print, 139 x 99 mm (5 ⁄2 x 3 ⁄8 in), with Self-portrait 1 1 photographer’s printed credit and sitter’s autograph below 6639: etching, 310 x 260 mm (12 ⁄4 x 10 ⁄4 in), image on card mount, 1890s signed and numbered below plate, 2002 Given by Sarah Chorley 2003 Purchased 2003 David Beckham (1975–) Edward Alexander (‘Aleister’) Crowley (1875–1947) Footballer Writer, mountaineer and occultist Sam Taylor-Wood (1967–) Leon Engers Kennedy (circa 1890–circa 1970) David 6630: oil on canvas, 916 x 610 mm (36 x 24 in), 6661: digital film displayed on LCD screen, 2004 circa 1917–18 Commissioned by the Trustees and made possible by Purchased 2003 JPMorgan through the Fund for New Commissions John Berger (1926–) Writer, broadcaster and art critic Maggi Hambling (1945–) 6646: charcoal, 610 x 482 mm (24 x 19 in), signed and dated, 2000 Given by the artist 2003

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Queen Elizabeth II (1926–) Queen regnant Hiroshi Sugimoto (1948–) P1002: gelatin silver print laid on aluminium, 1492 x 1194 mm 3 (58 ⁄4 x 47 in), 1999 Purchased 2003 Sir Alexander Fleming (1881–1955) Scientist; discoverer of penicillin Ethel Leontine Gabain (1883–1950) 1 1 L232: oil on canvas, 622 x 749 mm (24 ⁄2 x 29 ⁄2 in), signed, 1944 Lent by the Imperial War Museum 2004 Ian Lancaster Fleming (1908–1964) Author Charles Amherst Villiers (1900–1992) 1 1 L233: oil on canvas, 765 x 613 mm (30 ⁄8 x 24 ⁄8 in), signed and inscribed, 1962 Lent by the artist’s daughter, Janie Villiers, 2003 Michael Frayn (1933–) Playwright, novelist and journalist Jennifer McRae (1959–) 6647: oil on canvas, 1525 x 636 mm (60 x 25 in), signed and dated, 2003 Commissioned by the Trustees 2003 Lucian Freud (1922–) and David Hockney (1937–) Artists David Dawson (1960–) 3 1 P1001: ‘c’ type colour print, 263 x 393 mm (10 ⁄8 x 15 ⁄2 in), signed and numbered on reverse, 2003 Given by John Morton Morris 2003 Lucian Freud (1922–) Artist David Hockney (1937–) 6638: pen and ink, 610 x 458 mm (24 x 18 in), signed with initials and dated, 2002 Purchased with support from Randolph and Lara Lerner 2003 Sir Terence (‘Terry’) Frost (1915–2003) Artist and teacher Roger Mayne (1929–) 3 1 P998: modern bromide print, 366 x 241 mm (14 ⁄8 x 9 ⁄2 in), signed and dated below image, and on reverse, signed, inscribed and dated, 1987 Purchased 2003 Sir Nicholas Goodison (1934–) Financier and connoisseur Lucy Anne Dickens (1958–) 1 P993: ‘c’ type colour print, 357 x 360 mm (14 x 14 ⁄8 in), 2003 Purchased 2003 Henryk Gotlib (1890 –1966) Painter Self-portrait 3 6642: painted plaster, 630 mm (24 ⁄4 in) high, signed, circa 1942 Given at the wish of the artist’s widow, Janet Gotlib, 2003

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Herbert Lionel Adolphus Hart (1907–1992) Lady Ottoline Morrell (1873–1938) 44 Philosopher Patron of the arts Peter Wardle (1929–) Henry (H.) Walter Barnett (1862–1934) 3 5 7 1 6644: chalk, 477 x 371 mm (18 ⁄4 x 14 ⁄8 in) uneven, 1988 P1005: sepia platinum print, 148 x 108 mm (5 ⁄8 x 4 ⁄4 in), 1902 Purchased 2003 Purchased with support from the Dame Helen Gardner Bequest and the Friends of the National Libraries 2003 Graham Hill (1929–1975) Racing driver Lady Ottoline Morrell (1873–1938) Charles Amherst Villiers (1900–1992) 1 Patron of the arts L234: oil on canvas, 765 x 635 mm (30 ⁄8 x 25 in), George Charles Beresford (1864–1938) signed and inscribed, 1961 P1006: platinum print on photographer’s card mount, Lent by the artist’s daughter, Janie Villiers, 2003 7 1 147 x 107 mm (5 ⁄8 x 4 ⁄4 in), photographer’s printed credit Dame Wendy Margaret Hiller (1912–2003) on reverse of mount, 1903 Actress Purchased with support from the Dame Helen Gardner Thomas Cantrell Dugdale (1880–1952) Bequest and the Friends of the National Libraries 2003 1 6656: oil on canvas, 1117 x 815 mm (44 x 32 ⁄8 in), Lady Ottoline Morrell (1873–1938) signed, circa 1935 Patron of the arts Given by the sitter’s son and daughter, Anthony Hiller Gow George Charles Beresford (1864–1938) and Ann Gow, 2003 P1007: platinum print on photographer’s card mount, 1 3 Roger Hilton (1911–1975) 108 x 146 mm (4 ⁄4 x 5 ⁄4 in), photographer’s printed credit Painter on reverse of mount, 1903 Roger Mayne (1929–) Purchased with support from the Dame Helen Gardner 3 3 P999: modern bromide print, 288 x 249 mm (11 ⁄8 x 9 ⁄4 in), Bequest and the Friends of the National Libraries 2003 signed and dated below image, and on reverse, Lady Ottoline Morrell (1873–1938) signed, inscribed and dated, 1956 Patron of the arts Purchased 2003 List of Baron Adolf de Meyer (1868–1949) 1 Thomas Hollis (1720–1774) P1008: platinum print, 232 x 178 mm (9 ⁄8 x 7 in), 1912 Acquisitions Libertarian, writer and patron of the arts Purchased with support from the Dame Helen Gardner Joseph Wilton (1722–1803) Bequest and the Friends of the National Libraries 2003 L230: marble bust, 660 mm (26 in) high, circa 1758–66 Philip Richard Morris (1838–1902) Lent from a private collection 2003 Painter Trevor Huddleston (1913–1998) Eugen von Blaas (1843–1931) Bishop and anti-apartheid campaigner 6654: oil on canvas, 610 x 506 mm (24 x 20 in), Nancy Culliford Sharp (1909–2001) signed, 1860s 7 6629: oil on canvas, 762 x 608 mm (30 x 23 ⁄8 in), Bequeathed by the sitter’s grandson, P.A.R. Withers, 2003 signed and dated, 1973 Mary Moser (1744–1819) Accepted in lieu of tax by H.M. Government and Artist allocated to the Gallery 2003 George Romney (1734–1802) 1 Martita Hunt (1900–1969) 6641: oil on canvas, 763 x 642 mm (30 x 25 ⁄4 in), Actress circa 1770–71 Robert Duckworth Greenham (1906–1976) Purchased with support from the Heritage Lottery Fund 6631: oil on board, 510 x 408 mm (20 x 16 in), and the National Art Collections Fund (with a contribution signed and inscribed, 1940s from the Wolfson Foundation) 2003 Purchased 2003 Merle Oberon (Estelle Merle O’Brien Thompson) (Frederick) Louis MacNeice (1907–1963) (1917–1979) Poet Film actress Nancy Culliford Sharp (1909–2001) Victor Weisz (‘Vicky’) (1913–1966) 3 1 6628: oil on canvas, 763 x 634 mm (30 x 25 in), 6636: ink, gouache and crayon, 375 x 310 mm (14 ⁄4 x 12 ⁄4 in) signed, circa 1936 sight size, signed Accepted in lieu of tax by H.M. Government and Given by the executors of the estate of Elizabeth Weisz 2003 allocated to the Gallery 2003 Dame Margery Freda Perham (1895–1982) Katherine Mansfield (1888–1923) Colonial civil servant and historian Writer Peter Wardle (1929–) 3 1 John Herbert Folker (1861–1936) 6643: coloured chalks, 450 x 368 mm (17 ⁄4 x 14 ⁄2 in) P1009: vintage sepia matt postcard print, 135 x 82 mm uneven, signed, 1966 1 1 (5 ⁄4 x 3 ⁄4 in), 1917 Purchased 2003 Purchased with support from the Dame Helen Gardner Anthony Dymoke Powell (1905–2000) Bequest and the Friends of the National Libraries 2003 Writer Roger Mayne (1929–) Henry Lamb (1883–1960) 1 Photographer 6627: oil on canvas, 560 x 460 mm (22 x 18 ⁄8 in), John Deakin (1912–1972) signed and dated, 1934 7 P994: vintage bromide print, 303 x 356 mm (11 ⁄8 x 14 in), Accepted in lieu of tax by H.M. Government and 1957 allocated to the Gallery 2003 Purchased with support from the Dr Clementine Wheeler Bequest 2003

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John Pym (1584–1643) Sir Rabindranath Tagore (1861–1941) Statesman Poet and philosopher by or after Edward Bower (floruit 1635–1667) W. Fearon Halliday 5 1 1 5 6650: oil on canvas, 626 x 520 mm (24 ⁄8 x 20 ⁄2 in), P992: sepia-toned print, 160 x 117 mm (6 ⁄4 x 4 ⁄8 in), circa 1640 inscribed below image, 1920s Given by Paul Gore 2003 Given by Charlotte Bird 2003 Benjamin Brecknell Turner (1815–1894) John Charles Walsham Reith, 1st Baron Reith (1889–1971) with his wife Agnes Turner (née Chamberlain) Administrator; first Director General of the BBC Photographer Sir Oswald Birley (1880–1952) Self-portrait L229: oil on canvas, 1270 x 1017 mm (50 x 40 in), 1 1 P1003: albumen print, 285 x 370 mm (11 ⁄4 x 14 ⁄2 in), signed and dated, 1934 1850s Lent by the BBC 2003 Purchased 2003 Bryan Charles Francis Robertson (1925–2002) Egbert van Heemskerck the Elder (circa 1635–1704) Gallery director, writer and broadcaster Artist Elisabeth Jessie Vellacott (1905–2002) 1 1 Self-portrait 6637: pencil, 547x 437 mm (21 ⁄2 x 17 ⁄4 in) sight size, 1952 1 1 6651: oil on canvas, 765 x 640 mm (30 ⁄8 x 25 ⁄8 in), after Given by the executors of the sitter’s estate 2003 1674 Charles Saumarez Smith (1954–) Purchased 2003 Art historian and museum director James Watt (1736–1819) Tom Phillips (1937–) Engineer 6648: oil on panel, polyptych, 644 x 226 mm 3 7 Sir Francis Leggatt Chantrey (1781–1841) (25 ⁄8 x 8 ⁄8 in), 2003 L227: marble bust, 686 mm (27 in) high, Commissioned by the Trustees 2003 signed and dated, 1816 Peter Saville (1955–) Lent from the collection of Lord Thomson of Fleet 2003 Graphic designer Terence Hanbury White (1906–1964) Wolfgang Tillmans (1968–) Novelist P1010: ‘c’ type colour print, 610 x 508 mm (24 x 20 in), 2002 Kenneth Hempel Purchased with support from the Deloitte Acquisition Fund 6655: bronze head, 330 mm (13 in) high, 1950s 2003 Given by Mrs E.K. Charles in memory of Pat Marriott 2003 Amartya Kumar Sen (1933–) Harold Wilson, Baron Wilson of Rievaulx (1916–1995), Welfare economist; Master of Trinity College, Cambridge with a figure of Charles de Gaulle Antony Williams (1964–) 1 Prime Minister 6640: egg tempera on board, 431 x 358 mm (17 x 14 ⁄8 in), Victor Weisz (‘Vicky’) (1913–1966) signed, 2003 ‘…Paris has made the final break from the stark, hard look Commissioned by the Trustees 2003 and top designers are again using pleats, prints, flowing lines Hugh Richard Lawrie (‘Dick’) Sheppard (1880–1937) and chiffon.’ 5 3 Clerical reformer; Dean of Canterbury 6635: ink and crayon, 422 x 543 mm (16 ⁄8 x 21 ⁄8 in), signed Sir Gerald Kelly (1879–1972) and inscribed, circa 1965 L228: oil on canvas, 991 x 788 mm (39 x 31 in), 1932 Given by the executors of the estate of Elizabeth Weisz 2003 Lent by St Martin-in-the-Fields 2003 Bryan Wynter (1915–1975) Edwin Smith (1912–1971) Painter and teacher Photographer, writer and painter Roger Mayne (1929–) Olive Muriel Cook (1912–2002) P1000: modern bromide print, 340 x 253 mm 1 3 6657: oil on board, 1068 x 765 mm (42 x 30 ⁄8 in), (13 ⁄8 x 10 in), signed and dated below image, circa 1955 and on reverse, signed, inscribed and dated, 1959 Given by Lucy and Michael Archer 2003 Purchased 2003 Harold Macmillan, 1st Earl of Stockton (1894–1986) Prime Minister Victor Weisz (‘Vicky’) (1913–1966) ‘“...If the assassination could trammel up the consequence, and catch with his surcease success; that but this blow might be the be-all and the end-all here...”’ – Macbeth, Act I, Scene VII’ 1 1 6634: ink and crayon, 420 x 546 mm (16 ⁄2 x 21 ⁄2 in), signed and inscribed Given by the executors of the estate of Elizabeth Weisz 2003 Sir Peter Frederick Strawson (1919–) Philosopher Peter Wardle (1929–) 1 3 6645: coloured chalks, 486 x 325 mm (19 ⁄8 x 12 ⁄4 in) uneven, signed and dated, 1989 Purchased 2003

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Groups Vogue’s Millennium Party: Tracey Emin (1963–) Artist; 46 Sir Paul Smith (1946–) Fashion designer; Alex James ‘He followed the choir very well, finishing exactly at the (1968–) Bassist; Stephen Jones (1957–) Milliner; Norman same time, which is important’: Sir Edward Heath (1916–) Cook (1963–) DJ and musician; Vivienne Westwood Prime Minister; with Quintin Hogg, 1st Baron Hailsham (1941–) Fashion designer; Nick Moran (1968–) Actor; of St Marylebone (1907–2001); Alexander Frederick Patrick Cox (1963–) Shoe designer; Helena Christensen Douglas-Home, Baron Home of the Hirsel (1903–1995); (1968–) Fashion model; Norman Reedus (1969–) Actor; Peter Carington, 6th Baron Carrington (1919–); Patrick and another figure Gordon-Walker, Baron Gordon-Walker (1907–1980); Mario Testino (1954–) and four other figures P1022: ‘c’ type colour print, 407 x 511 mm 1 Victor Weisz (‘Vicky’) (1913–1966) (16 x 20 ⁄8 in), 1999 7 1 6632: ink and crayon, 378 x 546 mm (14 ⁄8 x 21 ⁄2 in), signed Purchased 2003 and inscribed, 1964 Jake Chapman (1966–) Artist; Dinos Chapman (1962–) Given by the executors of the estate of Elizabeth Weisz 2003 Artist; Alexander McQueen (1970–) Fashion designer Mario Testino (1954–) ‘Juke box jury’: Alexander Frederick Douglas-Home, P1023: Durst and Lambda bromide print, 511 x 412 mm Baron Home of the Hirsel (1903–1995) Prime Minister; 1 1 (20 ⁄8 x 16 ⁄4 in), 1999 with Joseph (‘Jo’) Grimond, Baron Grimond (1913–1993); Purchased 2003 Harold Wilson, Baron Wilson of Rievaulx (1916–1995); and another figure Women in Fashion: Stella McCartney (1972–) Fashion Victor Weisz (‘Vicky’) (1913–1966) designer; Liberty Ross (1978–) Fashion model; Phoebe 1 1 6633: ink and crayon, 465 x 545 mm (18 ⁄4 x 21 ⁄2 in), signed Philo Fashion model; three other figures including Julian and inscribed Miles (‘Jools’) Holland (1958–) Pianist and broadcaster Given by the executors of the estate of Elizabeth Weisz 2003 Mario Testino (1954–) P1024: ‘c’ type colour print, 510 x 359 mm The Lindsay String Quartet: Peter Cropper (1945–) Violinist; 1 (20 x 14 ⁄8 in), 2000 List of Ronald Birks (1945–) Violinist; Robin Ireland (1954–) Purchased 2003 Viola player; Bernard Gregor-Smith (1945–) Cellist Acquisitions György Gordon (1924–) British Models dressed by British Designers: Stella Tennant; 1 3 6649: oil on canvas, 700 x 1001 mm (27 ⁄2 x 39 ⁄8 in), signed Cecilia Chancellor; Erin O’Connor; Naomi Campbell with initials and dated, 2002–03 (1970–); Kate Moss (1974–); Rosemary Fergusson; Jasmine Commissioned by the Trustees 2003 Guinness; Karen Elson; Georgina Cooper; Sophie Dahl; Jodie Kidd; Jacquetta Wheeler; Liberty Ross; Elizabeth Omai, Sir Joseph Banks and Dr Daniel Solander: Jagger; Jade Parfitt; Lisa Ratcliffe; Alek Wek; Vivien Solari Omai (floruit 1774–1776) Native of Polynesia; Fashion models Sir Joseph Banks (1743–1820) Explorer and botanist; Mario Testino (1954–) Daniel Charles Solander (1736–1782) Botanist P1025: ‘c’ type colour print, 407 x 510 mm (16 x 20 in), 2001 William Parry (1742–1791) Purchased 2003 6652: oil on canvas, 1525 x 1525 mm (60 x 60 in), circa 1775–76 Anne, Lady Pope (1561–1625), with her children Purchased jointly with the National Museums and Galleries Marcus Gheeraerts the Younger (1561–1636) 1 7 of Wales and the Captain Cook Memorial Museum, Whitby, L231: oil on canvas, 2036 x 1217 mm (80 ⁄4 x 47 ⁄8 in), with support from a private benefactor and the Normanby inscribed and dated, 1596 Trust, the National Art Collections Fund, the Garfield Weston Lent from a private collection 2003 Foundation, Flora Fraser and Peter Soros, Sir Christopher Ondaatje, Linda L. Brownrigg, Randolph and Lara Lerner, Jon and Lillian Lovelace, the Clore Duffield Foundation, Sir Harry Djanogly, Hans and Märit Rausing, Lawrence Banks, the Swan Trust, Amanda Sebestyen, Sir David Attenborough, the Earl of Plymouth and Viscount Windsor and many other donations 2003 The Amadeus Quartet: Norbert Brainin (1922–) Violinist; Siegmund Nissel (1923–) Violinist; Peter Schidlof (1922–1987) Viola player; Martin Lovett (1927–) Cellist Milein Cosman (1921–) 3 6658: pen and ink, 273 x 406 mm (10 ⁄4 x 16 in), signed with initials, lower left, 1960s Given by the artist 2003

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Collections P1026(16): David Gerald Hessayon (1928–) Writer on gardening, 2002 P1011–P1025 Photographs by Mario Testino, 1996–2001 P1026(17): Penelope Hobhouse (1929–) Mario Testino (1954–) Garden designer, 2000 ‘c’ type colour prints except P1011, P1014, P1015 and P1020 P1026(18): Charles Alexander Jencks (1939–) 7 Durst and Lambda bromide prints, 510 x 405 mm (20 x 15 ⁄8 Lecturer in architecture, 2001 in) or more, and P1016 bromide print, 1243 x 1001 mm (49 x P1026(19): Lady (Priscilla) Mary Rose Keen (1940–) 3 39 ⁄8 in) Garden designer and writer, 2000 Purchased 2003, except P1016 given by the artist P1026(20): Carol Klein See also under Groups Plantswoman and teacher of art, 2002 P1026(21): Pamela Schwerdt; Sibylle Kreutsberger P1011: Darcey Andrea Bussell (1969–) Plantswomen and horticulturalists, 2000 Ballet dancer, 2000 P1026(22): Roy Lancaster P1012: Naomi Campbell (1970–) Plantsman, writer and broadcaster, 2002 Fashion model, 1996 P1026(23): Robin James Lane Fox (1926–) P1013: Prince Charles (1948–) Writer and historian of gardens, 2002 Prince of Wales, 2001 P1026(24): Joy Larkcom P1014: Jarvis Branson Cocker (1963–) Horticulturalist and writer on gardens, 2000 with Amanda, Lady Harlech (1958–) P1026(25): Andrew Lawson (1945–) Pop musician, 1999 Writer on gardens and photographer, 2000 P1015: Diana, Princess of Wales (1961–1997) P1026(26): Arabella, Lady Lennox-Boyd Princess of Wales, 1997 Garden designer, 2001 P1016: Diana, Princess of Wales (1961–1997) P1026(27): Christopher Lloyd (1921–) Horticulturalist, Princess of Wales, 1997 gardener and writer; Fergus Garrett Gardener, 2001 P1017: John Joseph Galliano (1960–) P1026(28): Tony Lord (1949–) Fashion designer, 1997 Horticultural consultant, photographer and writer, 2002 P1018: Madonna (Madonna Louise Veronica Ciccone) (1958–) P1026(29): Nigel Marshall Singer and actress, 1995 Gardener, 2000 P1019: Madonna (Madonna Louise Veronica Ciccone) (1958–) P1026(30): Brian Mathew (1936–) Singer and actress, 1998 Botanist, taxonomist and writer, 2002 P1020: Kate Moss (1974–) P1026(31): Julia Trevelyan Oman (Lady Strong) (1930–2003) Fashion model, 1996 Designer and author, 2002 P1021: Kate Moss (1974–) P1026(32): Anna Pavord (1940–) Fashion model, 2001 Writer on gardens, journalist and broadcaster, 2000 P1026(1-50) Gardeners and garden designers: P1026(33): Dan Pearson photographs by Tessa Traeger, 2000–2002 Garden designer and television presenter, 2002 Tessa Traeger (1938–) P1026(34): Sir Ghillean Tolmie Prance (1937–) 3 Silver gelatin prints, 380 x 290 mm (15 x 11 ⁄8 in) or more Director of the Royal Botanic Gardens, June 2001 Commissioned by the Trustees 2004 P1026(35): Martin Puddle; Charles Puddle Gardeners, 2000 P1026(1): David Charles Henshaw Austin (1926–) P1026(36): Beth Rothschild Farmer and rose nurseryman, 2001 Gardener, 2000 P1026(2): Isabel Bannerman (née Eustace) (1962–) P1026(37): Dame Miriam Louisa Rothschild (1908–) Garden designer, 2001 Zoologist, 2001 P1026(3): Julian Bannerman (1951–) P1026(38): John Sales Garden designer, 2001 Gardener and teacher of horticulture, 2000 P1026(4): Alan Bloom (1908–) P1026(39): Marjorie Olein (‘Mollie’), Plantsman, 2000 Marchioness of Salisbury P1026(5): Christopher David Brickell (1932–) Garden designer and writer, 2000 Botanist and garden designer, 2001 P1026(40): Anne Eleanor Scott-James (1913–) P1026(6): John Brookes (1933–) Author and journalist, 2002 Landscape architect and writer, 2002 P1026(41): Tim Smit (1954–) P1026(7): Angelika (Campbell), Countess Cawdor Founder of the Eden Project, 2002 Proponent of organic farming and gardener, 2001 P1026(42): Mike Snowden P1026(8): Beth Chatto (née Little) (1923–) Gardener, 2000 Plantswoman, garden designer and writer, 2000 P1026(43): Geoff Stokes P1026(9): James Compton Gardener, 2002 Botanist and plant collector, 2001 P1026(44): Sir Roy Strong (1935–) P1026(10): Gillian Turner (‘Gilly’) Drummond (née Laing) Art historian, museum director and garden designer, 2002 Gardener; campaigner for the conservation of P1026(45): Graham Stuart Thomas (1909–) historic landscapes, 2002 Gardener, writer and artist, June 2001 P1026(11): Ian Hamilton Finlay (1925–) P1026(46): Xa Tollemache Poet, artist and garden designer, 2001 (Alexandra Dorothy Jean, Lady Tollemache) P1026(12): Valerie Finnis (Lady Montagu Douglas Scott) Garden designer, 2002 Alpine gardener and photographer, 2000 P1026(47): Barry Unwin P1026(13): Bob Flowerdew Horticulturalist and seed collector, 2000 Horticulturalist and writer; advocate of P1026(48): David Wheeler (1945–) organic gardening, 2001 Gardener, writer and journalist, 2002 P1026(14): Jacqueline Ann Gear (1949–) P1026(49): Keith Wiley (1953–) Food writer and broadcaster; advocate of Gardener and horticulturalist, 2002 organic gardening, 2000 P1026(50): Kim Wilkie P1026(15): Andrew Charles (‘Andy’) Goldsworthy (1956–) Landscape architect, urban designer and Egbert van Heemskerck Artist and writer, 2001 environmental planner, 2002 the Elder, Self-portrait, after 1674 NPG_AR_04_text.film 10/12/05 9:54 AM Page 48

48 Director Fundraising and Development Naomi Conway Senior Development Manager Sandy Nairne Kirsty Sprawson Trusts Fundraising Manager Alexandra Finch Director’s Assistant Carol Trevor Fundraising Manager Seraphina Coffman Secretary/Administrative Assistant Charlotte Savery Individual Giving Manager Kerry Lyons Development Officer until 12/03 Curatorial and Collections Annabel Carter Membership Officer from 2/04 Events Jacob Simon Chief Curator Sarah Ledger Events Manager Curators Emily Agg-Manning Corporate Development Co-ordinator Tarnya Cooper 16th Century Catharine MacLeod 17th Century Administration Lucy Peltz 18th Century Peter Funnell 19th Century John Wykeham Head of Administration Katharine Eustace 20th Century Information Technology Sarah Howgate Contemporary David Saywell Head of Information Technology Terence Pepper Photographs Ann Lahiff Systems Manager Clare Freestone Assistant Curator of Photographs James Driscoll IT Co-ordinator Ruth Kenny Assistant Curator Simon Jones IT Assistant Max Dunbar DCMS Cataloguer until 11/03 Theodora Mavromatakis Digital Imaging Assistant Constantia Nicolaides Cataloguer from 11/03 Emma Cavalier DCMS Digital Imaging Assistant Victor Morgan Leverhulme Fellow from 10/03 Zaheen Qaiser IT Gallery Co-ordinator Design David Gosling Collections Database Manager Jude Simmons Head of Design on leave 5/03 to 1/04 Maintenance Annabel Dalziel Senior Designer from 5/03 to 2/04 David Coulthard M&E Operations Manager Staff Ian Gardner Assistant Designer John Dawson Building Services Co-ordinator Exhibitions and Collections Management Michael New Facilities Manager Kathleen Soriano Head of Exhibitions Security and Collections Management Chris Amey Head of Safety and Security until 8/03 Beatrice Hosegood Exhibitions Manager on leave from 4/03 Andrew Lunt Head of Visitor Services and Security from 9/03 Claire Everitt Exhibitions Manager Front of House Managers: Hugo Penning, Victoria Pitt Sophie Clark Exhibitions Manager until 7/03 Jane Thomas, Colin Wood from 8/03 Rosie Wilson Exhibitions Assistant Laura Down National Programmes Manager from 2/04 Supervisors David McNeff Loans Manager Harold Blundell Warder Supervisor until 11/03 Tim Moreton Collections Manager Ian Lamont Warder Supervisor Juliet Simpson Collections Assistant Neville Rebello Warder Supervisor Richard Hallas Head of Frame Conservation Front of House Warders Stuart Ager Assistant Manager, Frame Conservator Roz Ah Thion, Thomas Ardill from 11/03, Stephen Atkins, Stephen Williams Frame Conservator Barbara Barnett, Joseph Barnett, Yamina Belkacemi, Manuel Bermejo Art Handling Supervisor Timothy Benney until 1/04, Pierre Berthou, Peter Blundell Art Handlers: Julian Buchan, Mark Game, Karl Lydon, from 2/04, John Bourke, Rosemary Brookes, Ivor Coleman, David Upstill on leave from 2/04 Heather Anderson from 2/04 David Coomber, Brenda Copleston, Paul Cureton from Heinz Archive and Library 8/03, Maureen Del Rio until 6/03, Robin Delaney, Molly Robin Francis Head of Archive and Library Denham until 1/04, Stuart Evans, Norman Grimes, Antonia Leak Librarian and Public Study Room Manager Virginia Guillen until 12/03, Douglas Hall from 1/04, on leave to 8/03 Annette Harrison, Andrew Hudson from 1/04, Vivian Natasha Held Temporary Librarian until 9/03 Johnson, David Jones, Carole Joyce, Lateef Kareem, Aline Charlotte Brunskill Records Manager Kuyvenhoven, Andy Le Bas, Giles Livsey, James MacDonald, Paul Cox Senior Archive Assistant Lanny Madhavan from 1/04, Philip Marsden, Russell Erika Ingham Senior Archive Assistant Mirfin until 1/04, Mick Nicholson until 3/04, Ashok Patel, Caroline Badenoch Archive Assistant until 10/03 Valerie Peppiatt, Jonathan Rowbotham, William Ryan, Alex Hepburn Archive Assistant from 10/03 Sheelagh Schokman, Amber Sinclair-Ray from 1/04, Sally Francesca Odell Archive Assistant Stevens until 9/03, Paul Taylor, Raili Taylor, Susan Taylor, Carol Blackett-Ord Mellon Research Cataloguer Sarah Thompson, Kathleen Wilkins, James Yates from 10/03 Simon Turner Mellon Research Cataloguer Part-Time Front of House Warders Kate Jaram DCMS Cataloguer Emma Barrow from 11/03, Arthur Bell, Ahamadur Choudhury, Rebecca Clifton, Alfred De Ritter, Loren Dixon, Communications and Development Caitriona Dunnett from 1/04, Tom Hennessey from 1/04, Ruth Mason, Simeon McDaniel, Martin Parker until 2/04, Pim Baxter Communications and Development Director Shalha Patterson from 10/03, James Ward from 8/03, Louise Washington, Daphne Zawadzki Press and Marketing John Haywood Marketing Manager Control Room Warders Kelly Bagley Marketing Assistant from 7/03 Andrew Boulderstone, Mark Forester, Fran Harrod, Hazel Sutherland Press Officer Fred Hughes, Majeed Hyderkhan, Judith Lockyer, Antonia Perkins PR and Marketing Assistant until 6/03 Marc Perrine, Nigel Phillips, David Read, Sarah Crompton Communications Assistant from 8/03 Konstantin Silkoff, Garry Tyndall, Mike Worsley Office Support Penny Dearsley Secretary NPG_AR_04_cover.film 12/10/05 9:25 am Page 2

Personnel Caroline Wynter Personnel Manager Jagdish Sandhu Personnel Officer Alison Smith Personnel Assistant until 8/03 Lucy Evans Personnel Assistant from 9/03

Finance

Barbara Jotham Head of Finance and Planning Nico Nicholas Finance Manager Richard Sheaf Management Accountant from 10/03 Susan Deane Payroll Officer Accounts Assistants: Jorria Wan until 1/04, Jonathan Young until 9/03, Mathew Lawson from 11/03, Olamide Ogunlesi

Education

Stephen Allen Head of Education Liz Rideal Art Education Officer Clare Gittings Education Officer Roger Hargreaves Photography Education Officer Jan Cullen Public Programmes and Adult Education Officer Lucy Ribeiro Access Officer Amy Lumb Education Administrative Manager Alex Townsend Education Administrative Assistant Philippa Heath Education Administrative Assistant from 9/03 Hesan Yousif Lecture Theatre Technician until 6/03 Michael McGrath Lecture Theatre Technician from 8/03

Trading

Robert Carr-Archer Head of Trading Shirley Ellis Trading Administrative Assistant Publications Celia Joicey Publishing Manager on leave from 4/03 Denny Hemming Temporary Publishing Manager until 12/03 The Review covers the Gallery’s Johanna Stephenson Temporary Publishing Manager from 1/04 activities for the financial year Anjali Bulley Senior Editor from April 2003 to March 2004 Susie Foster Editor on leave 1/03 to 10/03 Caroline Brooke Johnson Temporary Editor from 1/03 Published by Ruth Müller-Wirth Production Manager National Portrait Gallery Pallavi Vadhia Publications Sales and Marketing Officer St Martin’s Place Catherine Ford Editorial and Marketing Assistant until 12/03 London WC2H 0HE T 020 7306 0055 Picture Library F 020 7306 0056 Tom Morgan Head of Rights and Reproductions www.npg.org.uk James Kilvington Assistant Picture Library Manager on leave from 6/03 Copyright Matthew Bailey Temporary Assistant Picture Library Manager © National Portrait Gallery 2004 Bernard Horrocks Copyright Officer ISBN 1 85514 531 6 Picture Librarians: Emma Butterfield, Jennifer Mamujee on leave from 8/03, Helen Trompeteler, Laura Whitton All rights reserved. No part of this from 11/03 publication may be reproduced, stored Shop in a retrieval system or transmitted in Denise Dean Retail Manager any form or by any means, electronic or Linda Fu-Bahnan Assistant Retail Manager mechanical, including photocopying, Senior Sales Assistants: Catherine McGregor, Keiron Phelan recording or otherwise, without prior per- Sales Assistants: Kerry Adamson until 7/03, Matthew mission in writing from the publisher. Coniam, Olivia Forder-White from 10/03, Jane Green, Lydia Julien from 3/04, Elizabeth Lawrence, All images are copyright of the Angela Levin, Christopher Rountree National Portrait Gallery unless otherwise Part-time Sales Assistants: Nicola Fleming, stated. The National Portrait Gallery Gordon McQueen, Damian O’Hara until 12/03, would like to thank the copyright holders Katheryn Reiss from 9/03, Angela Suegreen from 7/03 for granting permission to reproduce Terence Stewart Stores Supervisor works in this publication. Danny Horner Stores Assistant Emma Hoff-Williams Buying Assistant until 12/03 Designed by Rufus Leonard Ingrid Oosterhuis Buying Assistant from 1/04 Project managed by John Haywood

Edited by Elisabeth Ingles

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